\ 


DAVANZATI PAL 


1 
} 


. 


"ART GEIS ARE HERE 


Famous Collection of Paintings 
and Medieval Furniture 
Now on Exhibition. 


| 
| 
| 


TO GO UNDER HAMMER 


Rare Specimens of Craftsman- 
ship Shown by American | 
Association. 


} 


‘The famous Davanzati Palace of 
"Florence has been brought to New York. 
*hat is, it has been stripped of its won-| 
derful medisval furniture, its majolicas, 
tapestries and pictures, that made it one 
of the show places of Italy, and they 
have been set up in the galleries of the 
American Art Association and will be) 
sold there at auction. : 

Art enthusiasts who thronged the 
rooms yesterday mingled with their ad- 
miration words of regret that it had not, 
heen possible io keep the collection in-| 
tact. Prof. Volpi’s knowledge and re- | 
sources had made it possible to restore | 
the forsaken and abused house of the | 
old family of the Davanzati into a, 
splendid replica of a Renaissance strong- | 
hoid and dwelling, a much more effective 
appeal to the mind than that of such art | 
objects when coldly distributed in the | 
usual museum. | 


Gems of Mediwval Art, 


The Davanzati Palace was-a museum 
ef a superior order. Without doubt 
many of the pieces will find their way 


more or less directly into our public co)- | 
Tections. _It is.even not. unreasonable to | 
hope that the sight of so immense anda | 
complete a collection of rare specimens 
of ancient craftsmanship and ‘artistic 
skill will fire some ambitious amateur 
with the idea of assembling such a mu- 
seum of medieval art in this country. 

Prof. Volpi ardently desired that the | 
Davanzati Palace might be sold to the 
Italian Government, but it was impos- | 
sible at this time. This is a fair enough |} 
indication of the opportunities presented 
to American art lovers by the condition 
of affairs across the seas. Mrs. John 
Gardner’s Venetian Palace on the Fen-| 
way in Boston is an object of interest | 
and a place of pilgrimage for all astute 
Americans, There seems to be no rea- | 
son why a similar artistic venture should | 
be denied to New York. 

In the meantime the ancient carved 
benches, the chests and tables and| 
feliquaries that could tell so much his- 
tory if they would. are installed in the 
rooms in Madison Square South. ‘The 
babel of tongues in the galleries yester- 
day showed that ‘students and experts 
were fully alive to the importance of the 
occasion. The association galleries are 
spacious and the installation of the fur- 
niture and palace accessories has been 
accomplished tastefully. 


| 
Famous Artists Included. 


The pictures in the collection are by | 
artists whose names are written large in| 
history. There are two large Titians 
and a still larger Signorelli; the same) 
Signorelli, so James Addington Symonds | 
Insists, that ‘set the pace for Michel-| 
angelo. There is a painting by Jacopo | 
Palma of a famous beauty, a circular. 
madonna by Sandro Betticelli and: a| 


eae eens 


“Maadoni ila ana 
ag at high 


by Fran highly inte: 

pot ihe Francesco Guardi 
pictures ball in the Ridotto, | 
and two ently studies, by 


Tiepolo, exhib! - freshness of handling 
for which he is famous. Peruzzi, the 
great architect. who was also a painter, 
is represented by his own portrait and 
he has not scrupled to make himself out | 
as handsome as possible. r 

There are also portraits by Rubens 
and Vandyke, the latter with the usual’ 
grace and refinement showing in both | 
sitter and artist. A copy of the Rem- 
brandt self-portrait is said to be by no 
less a person than Ferdinand Bol, who, 
was Rembrandt’s best known pupil. The, 
primitives are. numerous. Some of the 
panels in the altars have been painted) 
by well known men. One, for instance,)| 
is by Ghirlandaio, 

However, the great impression pro-| 
auced by this exhibition is not that given 
by the pictures but by the furniture, for’ 
it comes with more of an element of sur- 
prise. Volumes have been written about 
Titian and Signorelli and the public 
knows about what to expect from these 
two masters, but the glories of the fur- 
niture of those days, much of it designea 
by the greatest. artists, are almost a new 
story. 

In every direction objects are con* 
fronted that vividly bring back the a 
mance of medisval Italy. Boccaccio an 
Savonarola are suggested by turns. This 
table with itsselaborate carvings was dey 
signed by Pinturicchio, and the chair be; 
side it is one that Andréa del Sarto used 
and painted into one of his pictures. 1 

The princely beds in Prof. Volpi’s col 
lection are as royal as much carving and 
fine gold can make them with damasks 
and old velvets by way of coverings. The 
unique bed of the occasion, however, is 
an early fifteenth century piece of pan, 
‘ elled walnut, which is built upon a wide 
dais. Any number of retainers or cour- 
tiers could sit about the bed on this dais, 
The going to bed in those days was a 
formal and intricate affair for royalty, 
and this wonderful relic helps a modern 
’ to appreciate it. { 
| There are many great benches in ing 
t 
| 
1 


collection, noble in design and of grea' 
solidity. One that bears the arms of the) 
Orsini family upon a scroll was, it is be-) 
i lieved, designed by Gian Bologna. The 
| table by Pintuviechio is of Umbrian wal-| 

nut, has a moulded edge to its square 
| top, with intricately arranged acanthus 
| leaves carved upon the legs. Its work-| 
manship is almost jewellike in finish. | 

The writing cabinets are of every, 
description. There is one, no doubt from 
a duchess’s boudoir that is all in red and 
gold, with panels of paintings conceived 
in such a primitive style that, paradoxi- 
cally, they seem almost modern. Others) 
in severer lines and of more sober work-! 
manship were probably used by cardinals’) 
secretaries, } 


Marriage Chests Prominent. . 

As might be expected in a collection, 
so purely Italian, the cassoni, or mar-| 
| Tiage chests, are very prominent, and | 
they include many that have been en-| 
riched with painting or figures carved in| 
| relief. It is doubtful if more interest- 
ing specimens of the chairs popularly 
|named after Savonarola have*‘ever been) 
shown here. | 

It is said the Davanzati Palace con-. 
tained forty rooms, and to complete) 
the pictures of medigwvalism at which! 
Prof. Yolpi aimed, he ransacked alll 
Italy for the minutie necessary for he | 
various rooms. These include many) 
quaint objects such as the kitchen mill, | 
iron standards for fat candles, brackets, | 
brazlers, wood chests, torches, spinning | 
wheels, and so forth, all of which il-| 
lustrate various phases of ingenious 
workmanship, j 

To many the interest of the whole 
show ‘will centre in Prof. Volpi’s ma- 
jolica. These include not only the much} 
prized Gubbio lustres, but an important, 
group of primitive majolica recently un-' 
earthed at Orvieto, which aroused the , 
greatest interest among Huropean con-) 
roisseurs.. No specimens have been 
shown here before. Dr. Bode of Berlin, | 
who studied them with enthusiasm. has) 


Rave Vatuew even 
in restoring their 
¥ aehes aera ae 
Designs Well Pres 
The Volpi specimens of this v 
intact, however, and the desis 
the bowls, pitchers and tureens are 1 
markably effective, in a primitive 
and well preserved, The disposition — 
these unusual wares will be awai 
with extreme interest, id arty 
One of the Gubbio lustres is a di 
plate, richly decorated by the famo 
maestro Giorgio. A sixteenth centu 
bowl is by Francesco de Medici, 1 
had the honor of producing the first 
porcelain in Europe. The present speci- 
men is marked with the dome of the 
| Florence Cathedral. Only thirty pieces 
of his. work have suryived, most of it in 
museums, Mere 
The Venetian glass, the armor, 
antique nens and tapestries a 
worthy of detailed descriptions for whi 
space lacks. The chief of the tapestries 
has the place of honor in the large 
gallery, It is of early Flemish weavi 
and hung for generations in the pa 
of the Princess Altieri near Lucca. — 
is a “marriage” tapestry, th Re. 
showing in quaint fashion the arrival 
of the bride to be with her attendants 
her future home, ish 
The sale of the Davanzati Pal 
fittings begins at the galleries on N 
; vember 21. The paintings will be 
| tioned at the Plaza Hotel on the eve 
of November 27, ay 


an Art» alleries, reveal. 
2 uninitiated the aoe nature, 


u lig with their deep-— 
work, their warm leath-. 


the pied tg ‘Palace ‘and the Villa Pia 
in Florence, where Elia Volpi, a deale 
and collector on a vast scale, had gath 
‘ered many: ‘treasures in addition to those 
belonging: to: the furnishings of the 


red by. the same ‘spirit that has 
moved. Italy as sa whole ‘to safeguard 
eee Bees In very recent years the 


Volpi not long ago undertook the 
rehabilitation. of. the. Davanzati Palace. 
eset some time in the fourteenth -cent- 

: little group 


0 Davanzati in 1576, 
nega strious citizens of 


sth oul has to diseutse and de- 
ane tdi ONE ae Sis: 


| contents are tetas 
with the contents 


ina rekey of more tha 
3 with specific com- 


sixteenth centur: y 
alntures in stucco, terr 
_ a small number of 
and the majolicas. 
ions certain to at- 
of experts is that 
: Bronze Statuette 


Tete pent forward in 
tation, hair parted 

2 and covering the ears, 
arm. tretched forward aad 


Tl “as is shown by 
rane. “iy down. The 


ipeherved “work of the Ba 
his is assigned is ayaih 


and the delicate cha 


@ will make. friends | 10 . 


re envelop 
land the sturdy sabes “8 


\porting the wooden base o 

jcornbine with it in, an ag 

iposition. It is an heat anne is 

irestraint and trained sense of 
grertegas ‘to’ ‘the’ Italian: modelers, of that 


me primitive majolica of Orvieto 
iplays a cons iduous part in this section 
of the exhibition. The rich, low colors 
and restricted shapes of’ this early ware 
have captured the favor of collectors 
'yho rank it above the later majolica 
mot only on agcount of its rarity, ‘but 
tor its aesthetic: character, « 

Se ond afternoon’s sale takes 

; and part of the furnitu 
es from the “' mirrors of th 

ipera paintings of FI 


sues hone $223, coe | 
} to aprons 


: Biren +H 
from Davanzat! 


iin. th 
Woe rofessor "Di lia, Votpi, the collector 
w af collection to We cout: 


pee is fri eas the 


table brour 


‘top with molded | 
a morn oF edie tn os ; 
jguil lower re 
chet tae 


tek iaare 
v chan poi 


was Husa © a 
iwas 2 faet % 7% inches, its | 
iy inches, width 3 fect 24 


No Takers for $6,090 Watrack. 


The upset price of $6,000 on a six s 
teenth century Italian walnut hanging © 


hatrack saw no takers, and Professor 


pi, it was said, would send it ba 

be placed onee more in Davan 
‘Palace, which has been offered to 1 4 
Tralian cts aes The hatrack | Ss 
i yr, with 4 pi 4 


ry, 
om. Davennaty Palace we 
ed to this countr 5 thro. 
ath shipment from Naples hac 
n held up by the authorities, als 
ec mmittee from that city “has 
. The reason given q 
gp peaes Naples had noth 
h aca of the ship 
oa. A valuable sixteentk 7 
r an State bench, a fifteenth 
r large rane throne, and a six~ , 
en th Sienese painted ete | 
e objects asec eee eo 


at 
ributed to Gian Bol 
rmoire cabinet was. ire: 


went to Duveen yi | 
et more than two dozen fo 


y included Ce 
firs 
1 nd legs, y 
rosette at the intersection, 


debated) oe ons ioe 
is pictures. 
izi Gallery, in Florence, for a 
rawing in sanguine b 
shows his wife 
hair, 
of the largest sales: veut la 
xteenth century Serene wa 
gies On. 
geht by SS) Re as 
500. Th 


of the 
ves of the Paraters hs nt a 
century Florentine 
ble, for which. Duveen Brot 
2 cas 


a ts 


Sorenthic Bed Brings $6,600. 


BH. BH. Caressa bought a fifteenth cent- 
ary Geonese walnut side table for nee 
WwW. Seaman, agent, @ fourtee 
« ntury ere walnut. credence yi 
$3,100. he bids for the eredence start: 
ed at $500 and Ewer Oe as $50 and vel 
bids until finally sold. Duveen Br 
ers took two early fifteenth century 
‘lorentine walnut, inlaid chests for $8,+ 
0 in separate bids of $4,000, A hia] 
teenth century walnut Sienese cabin 
'ost P. W. French & Co. $3,000, and @ 
sixteenth century Umbrian Walnut etd 
wre table $5,000, Carl W, Hamnitén 
oneht a fifteenth century Florentine 


} 2¢ 4 


5d PO¥ $0600: Miss (Nor 482, 
century Tuscan wal- ing been 


iniatd Wein —— niaiaend - 
Pee nee! | Ralaey CALLS OLD MASTERS 
ary Sienes ( oye 
ae | BACTIS: SURS VOLPI 
agider, and J. K. Branch $1,020 tor “a si tho, Sa ee er Ze "Ops eowwsane = B= 7° is ; 

for No. 445, a sixteenth century Tuscan | St. Louis Collector Alleges That 


an ony century Bolognese walnut resented by Miss R. H. Lorenz, agent, 
Among those at the sale were Mr. and 1 EN hie kad ab plong H f 
walnut table, This had a heavy oblon | Pictures ouch e or 
top, with exceptionally heavy lyre shaped | PichuEes Bought bs 0 
| $8,400 Are Worth Only $200. 


'chilip Lehman, Mr. and Mrs 
3 Tom Mrs. Prederick hea Ma MES 
7 iy Bethe: Mrs. haa Kahn, Mr. and 
Mrs. L } reese, : t 
. Yidener’ of Philadelphia rie PB oat j 
avi 30, W. Hinkel Smith of 
hat and Michael Dreicer 

This rte gre ne consist o 

iteenth, sixt ] 

ceventeenth, and eighteenth Gauturial y 


Mrs. Daniel G, Reid, Mr. and Mrs. 
legs, richly carved. Miss Lorenz also 


paid $4,500 for No. 413, the Florentine 
walnut centre table, which is said to | 
have been designed by Vasari, the writer. 
PP. Wy French & Co. gave $5,000 for \ 
No. 427, an Umbrian walnut centre 
teble, the design of which. is. attributed 
‘to the celebrated painter Pinturicchio ; 
$3;000 for No. 424, a sixteenth century 
Sienese ‘walnut table; $4,300 for. No. 
438, a fifteenth century lorentine 
carved and gilded marriage coffer; 
‘$4,200 for No. 439, a Florentine coffer 
said to have beén designed by Pollaiuolo, 
the decoration of ‘which portrays Bac~- 
ehus and Ariadne in a triumphal car 
drawn by winged gryphons urged on 
by a youthful Bacchante, and $4,200 
for No. 440, also a coffer by Pollaiuolo 
with the design of ‘The Rape of Pros 
pine.’”’ 


ECHO OF GREAT ART SALE 


“Thomas E. Kirby Defends Italian 
Expert’s Good Intentions — No 
Other Works Questioned. 


[ 


.On the charge that two paintings, sold 
st November at the American Art Gal-. 
ies by Professor Hlia Volpi of Flor- 
Italy, as old masters, were not | 
ine, Justice Hotchkiss granted an} 
hment for $11,800 yesterday against 
property. of Professor Volpi’s that 
- found in. New York.. The at- 
nent was issued in a suit brought 
_ assigned claim of Jackson, John- 
jillionaire art collector of St. 
o paid $8,400 for the pictures. 
itings’ are .“‘ Carolus de Mial=) 
as a Peter Faul Rubens, and 
n Lomeliini,’’ sold as the werk 
Van Dyck. . : 
of -Professor Volpi’s paint- 
xe the Davanzati Palace and the 
ia, Florence, occupied eight days 
ember, and realized $944,102. 
sale ended Thomas WH. Kirby 
was the greatest sale ever held 
country, judged by the general 
of the collection. Many 
; were sold, and among the pur- 
rs were Joseph E. Widener, Henry 
k, Otto H. Kahn, the Metropeli-| 
m, Boston Art Museam, Min- > 
Art Museum, and the Rhode 
lof Design. Professor Vol- 
n represented the work of 
He purchased thé Davan- 
as a home for the paintings, 
uge in gonditions, due: to the 
a him: to: present the palace to 
1 Government, as a museum 
all his: paintings to this coun- 


Arnold Seligman Large Buyer. 


Arnold Seligman gave $4,000 for No 
446, a fifteenth century inlaid walnut 
Florentine cassone; $2,300 for No. 443 
and $2,800 for No. 442, both of whic 
were walnut cassoni of- fifteenth century 
workmanship, and $3,500 each for No 
430 and No, 431, both being inlaid wal 
nut benches made in the sixteenth cen- 
tury. 
Some of the more important purchases 
of Duveen Bros, were as _ follows 
$5,500 each for No, 362 and No. 363, both 
being Sixteenth century chairs vi the 
kind called Dante,“ and both havi 
seats in old green velvet with deep silk 
fringe; $6,200 for No. 414, a fifteenth 
leentury walnut pedestal table; $4,000 
each for No, 422 and No. 428, a pair of 
inlaid walnut chests of early fifteenth 
ntury workmanship; $3,000 for No. 
449, a sixteenth century Tuscan walnut 
bench; $3,100 for No. 355, a Savonarola 
chair; $2,100 for No. 356 and 357, a 
pair of Savonarola chairs: $2,400 and 
$2,000 for No. 374 ana No. 375 respec 
vely, being “Dante” chairs; $2,800 for 
No. 376, a “Dante” chair; $2,200 for No. 
877, a “Dante” chair in old red velvet: 
$2,500 for No. 378, a “Dante” chair wit 
ivelvet cushions, and $2,200 for No. 396 
a “Dante” chair with embroidered cush- 


‘it on whieh the attachment 
d said that the paintings 
h only $100 each, whereas if 
been genuine they would have 
1 $6,000 each. Mr, Johnson, in 
fidavit, said he was not an 
art judge of paintings, and that in 
ig the pictures he relied on the de- 
nm in the catalogue. He said he 
en informed by Martin Hofer, an 
ast lifty-seventh 
the pictures were not genu- 
. worth only $100 each, Mr. 
is a dealer under the name 
ouse, Ltd., in New York and 
pid in the pictures for Mr, 
‘at the sale. 
questioned last night Mr. Hofer 
suit had been brought. after 
jence with Thomas E. Kirby 
1erican Art Galleries. He said 
ught about $230,000 worth of 
pictures, but had no doubts 
ut the two named., 
y said that the controversy 
en the purchaser and Profes- 
yi, since no picture is sold under 
ntee. He said, however, that 
opportunity for inspection was 
before the. sale. | 


{ 


Other Important Paorchases. 
Kleinberger Galleries gave $3,100 for 
‘No. 435, two fifteenth century walnut 
benches; Miss Paul of Boston paid 
$4,300 for No. 454, a fourteenth cen- 
| tury Tusean walnut sacristy cupboard ; 
| Louis C. Tiffany gave $3,100 for No. 
4544, a fifteenth century Sienese carved re 
land gilt frame; Warwick House bought Falaee 
| No, 411, a Florentine walnut cabinet, Vv be ‘ 
| and Miss Barr paid $8,000 for No. 433 fet 
ta sixteenth «entury carved walnut 
bench. if ; 
| W. W. Seaman, agent, got No. 448, 
+a fourteenth century coffer, for $6,400; 
' No. 344, a Sienese carved walnut bowl 
; holder, for $2,500, and No. 311, a velvet 
)covered coffer, for $2,000; Carl W. 
Hamilton bought No. 453, a Florentine 
l inlaid walnut dais bed, for $6,600; W. 
|W. Seaman, agent, paid $3,100 for 
© No. 421, a Venetian Gothic walnut cre- 
j dence; Miss Barr gave $2,100 for No. 
| 417, a Florentine walnut cradle; Louise 
|D. Putnam Lee paid $1,850 for No, 
‘cabinet; C. HE, Canessa paid $2,300 for 
| No, 415, a Genoese walnut side table, 
fand $1,500 for No. $98, a walnut 
“Dante” chair, and Mrs. Keller bought 
| No. 392, two sixteenth century Umbrian 
walnut leather covered armchairs. 
| The sale of the Dayanzati collec 
| continues this afternoeu. : 


tion 


"Century Plorentine Chair on Condl- 


tion He Takes It Back to Italy: 


| % a 

Attended. by” & representative group 0 
lees <" the third session of the euctio: 
l Volpe collection pt ert treas 


Rosina’ at the Anais 
in Madison square south 
nd total of sales so fa 
» high water mark wa 
with sales aggregating 
. Kirby was auctioneer 
} throng which gained entrance t 
Mibee the auction was hel 


t eter “Fierentine wel 
aly data an have been used br ition Dal 
which was purchased after brisk 

z by James W. Wlisworth. The p 
however, had a tangible string fo it 
order of the Italian. government 
ir must be returned to Italy in 
nh. Mr. EUsworth eolved ae 


rence, Villa Palmieri. 

‘ef threa pieces concerning which 
nm had ‘been taken by the Ital- 
orities. They were shipped by; 
just before the vessel 
tee of artists protested 

the Gticike leaving the country. 
were allowed to leave there, but 
igh had to promise they woulé 


- nc which will find its way 
is a beautifully sere 


1 | cn ie piece ts Italy on his 
restore it to its oldtime plac 


chest ‘pid of the day was that of 
Ta: centre table of Tuscan 
‘eenth century, whic 

~, Lorenz, agent for a 

est buyers of the day 

othe 8, whose purchaaés 

the collection. Another 


ae oh & Co. after having 
this table is considered 
efferings of the collec 
os top with moulded 
on carved with bold 
Gettea w with a drawer, 
. obiecta withdrawn from sale 
the Bertion ak sit Italian 
was a so an walnut 
fifteenth century. It at- 
9 attention because of t 
the carvings “embellishing it 
ters with richly carved 
6 back inte three obleny 
i Dig fy @ moulded 
the whole stands on a 
m base. A painted Sienes 


mn tors at the ses 
cot = pe of entatee 
1 sth also leat Leis spo 


of 
thee Volpi colle 


vember 27. The paar wil continue un 


Ht November 28. 


————— 


BIG PRICES. AT: 


‘Ttaly was repr 
an ne 
is here to ; 


HAT ee 
One of the events of 

the withdrawal of a eae 

ury Italian walnut. hat rack 

the sale by Professor Blia 

who bad pinoed ae upset price 


anzatl Bee 
y Italian state 


century peelien 


by ea Bisel. Gaew 
loma,” it was announced | 


by Gane B. Kirby, auctioneer, 
have been retained by the. Italian | 


; | Government. 
An interesting feature was the 


| purchase of Andrea Del Sarto’s ’ 


_ chair, sixteenth century Florentine 
sat oe of rare historical interest, 
Ellsworth, 


among bidders. 

A sixteenth century Tuscan wal- 
nut centre table with lyre-shaped 
legs, richly carved, with bold acan- 


of, et TONEIMED RE teces 


f r 
\ bai 
} OMitteenth Century Florentine 
eee table was obtained by Du- 
veen | hers for $6,200 
‘Among other purcnases by Du- 
en Brotiaers were: a Fifteenth 


ef New. 
Beal tor $4,000 after a spirited tilt ° 


r Sis.too, the top price of the af-_ 


heeaeary Italian ““Danite’” chair rory 


and another 
| a Bixkcetey Century for $5,500, 


“Dante”. chair | 


A Sixteenth Century Florentine | 


| Lorenz for $4,500 
f TABLE paivan $5,000. 

PP Ws French & Co., who often 
| rivalled the Duveens in the bidding, 
“got a Sixteenth Century Umbrian 
walnut table for $5,000. 

teenth Century Florentine 
nut bench went to Arnold | 


Mrs. J. 
h, of Philadel. 


! walnut centre table, known as the - 
Vasari” table, a obtained by Miss 


{ 


= 


ames L, Breese, 


ick Pratt, Mr. 
y, Mr. and Mrs. 
Hirskine Hewitt. — 
be contlayed a 


1 DAVANZATIC 


TABLES IN THE BIDDING 


veen Bros. Pay $66,000 for 


XV. Century Bronze 
Incense Burner. 


The American Art Association made @ 


‘ave beginning yesterday afternoon in 
rhe art treasures of the Da* 


anzati Palace, which Prof. Volpi has 
te g county, The largest 

{ this season turned out 

me record prices were 

aot huge total of the 


ring the auction 

] . William | 
Peter Cooper Hewitt, 
1d, Mrs. Samuel MY 

asco, David Warfi 
‘harles D, Crocker and 

4 on Bradley. 

price of the\ sale was 
ic 8 paid by Duveen Bros. 


‘fift 
by EK Ricelo. only wens thts 
ht. This is a record price 
ch a bronze. 
shat bronzes of this de- 
Br ee in the auctions 
“value of them are not 


y Recalls Powe Art Auction, 


; Yast considerable previous sale of 

occurred in the auction of the 

. Philip Lydig art collection, but it 

; fe Hire at that time to secure the 

‘that, the objects would ee, | 
cones in Europe. The present sale wil 
é Ae REET of influencing cage: 


$ $109.14 


‘Van- 


er ‘Donatello, on the Rates 

the Church of St. Anthony, He 

iS ordered to ’muke it by his patron, 

the Duke of Mantua, and the bronze has 

always: remained in this - family until, 
Quite recently, — 


Bidders Showed Hesitation. 


There was a reserve price placed on 
the bronze of $55,000, and the bidding 
hesitated long before it finally mounted 
‘With $1,000 bids to the winning figure. 
Ween a bidder was the firm of P, W. 

encth & Co. 
| The séeond highest price was $15,000 
‘paid by C. &, Canessa for a Greek 
‘bronze statuette of Sappho, which dates 
‘from the fourth century B, C. The fig- 
lure, whieh was exhumed at Melos, has 
been much written about by experts of 
‘antique sculpture. 
| A fifteenth century Florentine stucco 
‘bas-relief by Antonio Rossellino sold t 
‘Otto Bernet, agent, for $5,700, and for 
No, 115, a sixteenth century Florentine 
iglazed ferra eetta alte-relief, by. Gio 
‘yanni della Robbia, Mr. Bernet 
$7,100. Mr. Bernet, as agent, also go 
\No, 81, a bronze statuette by Pollain ee 
‘for $4,300, and No. 116, a glazed terra 
‘cotta by Rosellino and Luca della Rob- 
bla, for $3,900. 
es Pes Seaman, agent, gave $4,400 for 
\No. 114, a glazed terra cotta tabernacle 
‘by Giovanni della Robbia, and $2,500 for 
No. 113, a bas-relief by Giovanni Bo- 
logna. David Warfield bought No. 82, a 
fifteenth century enamelled cross, and 
‘Mrs. Peter Cooper Hewitt paid $275 fon 
‘No, 37, a sixteenth century bro 
plaque. Miss R. H. Lorenz, agent, 

Se for No. 638, two bronze eandle- 
by Ti Sansovino, and $1,400 for 

a fifteenth century bronze bull. 
‘French & Co. paid $2,000 for 
aft ‘four seventeenth century carved 
panels; Kleinberger Galleries 
ae 476 for No. 10, a French gothic 


f 
{ 
; 
t 


y and J. D. Meltlhenny gave 

82,00 pr No. 151, a fifteenth century 
adonna and child. 

|The ‘ecianees will be resumed this after- 


total seen ee ait 7 B07 


ge house attended 


of American Art Apa Nt 
yt were drawn in curiosity 
aon of the paateenany, of 


we museum directors 


m. out of town, Among 


hed Cable, . Fobupn Breet of the Min eapo- 
lis Museum, | David Belasco and ‘Hinckle 
Smith, : j 

The total’ for yesterday’s sales 


amounted to $77,807.50, making a grand 
\tetal for the two days sales of $246,950, 


$5,100 for Bolognese Table. 


The last number on the programme, 
splendid sixteenth century Bolognese 
walnut table, led the list of prices, going 
iat $5,100 to a buyer represented by Otto 
Bernet. This table is oblong, with 

plain top that has a fluted moulding be 

neath. The two legs are lyre shaped 
ae whole design being massive and sim- 
p 
| The Minneapolis Museum acquired for 
$1,050 No. 328, sixteenth century Floren- 
tine chancel stalls, and for $500 No 
319, an Umbrian walnut cholr book lec- 

rn, made in the sixteenth century. 
Wtceates Art Museum purchased 
sixteenth century cushions, No. 195, f 
red velvet embroidered with silver and 
gold, for $250. 
_ The beautiful gilt four post bed which 
attracted so much attention during the 
exhibition will return to Italy, having 
been purchased for $2,000 by L. O, Or- 
selli, the well known antiquarian of 
Florence. In the ornament on this b 
was included the arms of the De 
‘Bella family. Mr. Orselli also bought 
'No. 317, a sixteenth century Florentine 
walnut sideboard, for $1,550, and No. 
vp a Bolognese walnut armoire, for 
_ R. Daniels, who made many purckases, 

jaid $3,800 for No. 825, a sixteenth cen- 
bary walnut bench; $1,175 each for No. 
315 and 316, companion Bolegnese wal 
2 marriage chests; $950 for No. 2: 

entine walnut table; $660 for 

288, two Italian walnut armchairs; $800 
for "No. 284, two sixteenth century..wal- 
ut armchairs with tpholstery in con- 
emporary embroidery, and $925 for No. 
261, a sixteenth century Cushak rug. 

Walnut Bench Brings $1,575. 

Mrs. Peter Cooper Hewitt paid $1,575 
for No. 824, a Siennese inlaid walnut 
bench; E, L. Perera gave $3,200 for No. 
‘329, an Umbrian walnut library book- 
case, and the Kleinberger Galleries 
bought No. 320, a gilt synagogue cabinet 
jof Italian walnut, for $1,600. J. D. wt 
TIihenny of Philadelphia got No.° 313, 
Siennese walnut marriage chest, for 
$1,400. 

Ra Seligman paid $1,400 for No. 

, @ Florentine inlaid walnut marriage 
be: $1,600 for No. 308, a Lombardy 
walnut eredence, and $810 for No. 256, 
a piece of sixteenth century red velvet. 
Miss R. H. Lorenz, agent, paid $1,400 
for No. 258, a nomad Asia Minor prayer 
rug; No. 260, an ancient “leaf”? rug, went 
‘o J. D. McIlhenny for $1,700, and Mrs. 
Peter Cooper Hewitt gave $900 for No. 
262, three seventeenth century stools. 

A. IE. Canessa bought No. 276, two 
high Italian pedestals of gilt, for $1,000; 
Miss Barr gave $1,340 for No. 283, two 
sixteenth century walnut armchairs; 
W. W. Seaman, agent, paid $1,050 for 
No, 304, a Florentine octagonal walnut 
table, and P. W. French & Co. paid 
pie 100 for No, 307, a sixteenth century 

‘lorentine gilt walnut high candlestick. 

The Duveen Bros. paid $650 for No. 294, 

$750 for No. 295 and $700 for No. 296, 
all three being rare old Savonarola 
chairs. The same firm paid $800 for No. 
2T1, also a Savonarola chair, No. 309, 
an Umbrian walnut table of oblong 
shape, went to Otto Bernet, agent, for 
$2,900. 

The sale of the furniture from the 
Davanzati palace, will be continued this 


afternoon. 


* More interest than has been shelve 


(One of the Best Pemene of: “ore mi 
Art Was Recently Exhumed—_ : 
A Nita of nee a 


FN 


art lovers in. sales of art ob 
‘ar this season was displayed e 
ati ead at. the He sages: Act 
ie 


 Duvee 

0, The burner was a 3 
quecento. art,. and. was fas 

réa. Briesco, known as 1) 
hej was a co-worker with’ 
n the hronze doors of t rat 
. Anthony, He was order 
t by his patron ‘¢ ga 


yf the family of the. 
lescendunt of Gonzaga, F 


vit 1, durin the cen 
once, the: 


red it to be, one: of. the 
ful ttalian Renaissance br 
world he late Je 


the. piece F 
Feist owners’ hands. 


he’ price went. up $1} 
finally” er a) 


WE low the eagles are three 
ks with rams” herns and betwe 
88 wes figures possibly: of mar 
ies standing on somewhat. can 
ltionalized wave forms. ‘The lower - 
jot the body, ‘separated.freni the u 
by: a. gold fillet, is’ desorated arity 
jtaons’ of fruits, ‘shells, grotesque | 
lund elght. sma}l arcnh-snaped ‘apertu 


q ivarin Buys an old 
or $2,000 — Amer!-. 
Nie Shpall 


ee Art ‘Gals 
e sale of art treas- 


ae 8 feet 5 Bape Hy bial widts 
feet 3 inches. It has an oblong top 


3 beneath. The: sgl baie ve 
“with bol volutes an 
parotles on both” sides, ee edges carved 
hat large imbrications and the feet 
ormed as large lion’s paws. ‘There Is 
be massive longitudinal. brace with 


olded terminations Bare into the legs 
rm each en 
. Daniels “pought : sixteenth century 
Florentine walnut bench for $38,800. The 
bench jis rectangular, with a straight 
back and 1 a with haviorg cornice and 
frieze, inlai colored woods in a 
design t) ‘eeomete trical Peg lacensr nts: 
Both ba arms are divided. into 
moleed panels “surrounded by bands of 
inlay of a lozenged pattern. The seat 
Ss molded top. ie wd as a box with a 
(fe ag to serve as 4 
~The eight of ithe bench is 3 feet 
inches and length 8 feet 9 inches. 
| Umbrian Bookease for $3,200, 
_ BE. L. Perera paid $3,200 for a fifteenth 
eg Umbrian walnut library book- 
ase, the upper portion of which is 
fitted as a bookcase with six-hinged, 
ree doors, the middle portion 
itted with oat upbeards and six doors 
ower Ttion projecting forward 
nd led Pie cupboards with nine- 
ouble-panel doors. It stands or 
nfaped base 9% feet high, 18 
if a gu ong, and has a depth oi 


Je the majority of those presen) 

opening afternoon were men, yen: 
: afternoon there were more wo: 

en present. Mrs. Burke Roche bow. mM 

= cone eee Italian velvet ch 

2 seventeenth sennens 

i Ghreriet for $180, another Italian 

overs for $185, two seventeenth cent- 

7% on for $410, a damask strip 

ue BON mays Qo her less sxnengi ye 

rte tury italia! an 
rs. Peter Coo 


eg 


eat sixteen 
he $90; she paid $160 for an Ital “4 
ey coverlet of red silk, and _ $280 
or one of age shape, but made of 
teen silk damas 
Mrs. eae Are pought three Italian 
s for $900, two seventeenth century 
igh. pedestals for $750, and a six- 
ecentur ney Sienese inlaid walnut 
for $1, 


Antiquarian Orselli a Buyer, 


L. Orselli, antiquarian of Florence, 
Italy, who came to this country for the 
ale, bought a sixteenth century Italian 
gilt four ea Bo. and for rig 000, a Beleny ness 
armeoir t a e) 


or 


r tM use 
‘eae eget em a 
velvet ones sd 

Paes sor s Museum of Art, o, and. 
ws £0: pager Breck, acquired a, ts 
epntany Umbrian, ehut choir 


090. 
i er works which brought hi 
Paes were: A tifteenth 1 tor $1,400 walnut 


i es Fs slso bought a4 
Paes ic “waln yi Sradercs for $1,500, | 
jand nut table for $2,800, and & Six-. 
2s, eentury velvet in three strips for 

$0; wainut synagogue cabinet 
: the Kleinberger alleries for 
500; a si h century walnut ang 
which went to Otto Bernet, agent, 
ble an Pe a te tteenth century wal at 
or $1,1 

ielaneo, art lover, who buys 

E8 for his personal Seftects, 
} enhance scenic beh a 
sont a git vet table cover for $200 
ts) 


er ee BS ae two velvet Mase 


00, 
—artiore for 88 " ana etiboaighe Dees 
i one. iBone! at the sale hah Mrs. : 


i 
seph Baldwin, Mrs. James L, Breese. 
fe fore t ussell, Mr. a and Mrs. Daniel 


Ke ee ae Ignetben Buena, otis: 


Gna John Pratt. _ 


ry 


VOLPI PICTURE SUIT. 
STIRS ART WORLD 


Many Curators Will Testify in 
~ Hearing of Charges That 
Old Masters Were Bogus. 


| 
| 
j 


BOOKS IN TESTIMONY 


Plaintiff Offers Standard Works to 
Show Rubens and Van Dyck 
Are False. S) 


} > . 

. In the suit brought in behalf of Jack- 
'son Johnson, wealthy shoe manufacturer 
of St. Louis and owner of the St. Louis 
|Star, against Professor Elia Volpi. of 
| Plorence, Italy, to recover $11,800 dam- 
ages from the art collector on the 
Sround that an alleged: Rubens and a 
‘supposed Van Dyck, for which he paid 
$8,000 were bogus, it was learned yes- 
'terday has been ordered on the Supreme 
| Court calendar for tris] next Thursday, 
‘over the protests of Professor Volpi's 
‘attorney. The evidence on which Bar- 
inett L. Hollander of Hollander & Bern- 
‘hejlmer, attorneys for Mr. Johnson, in- 
ltends to rely chiefly, was also made 
known. 

The triai promises to equal in interest 
that of the William T. Evans. suit 
‘against William Clausen, over the al- 
‘leged bogus Homer Martins in 1910, 
‘when the jury, after a prolonged trial, 
| disagreed. The leading art experts and 
'coitectors in the country will testify. 

Supreme Court Justice Finch granted 
the request of Attorney Hollander for an 
early trial of the action on the ground 
that it has been pending since 1917 and 
it is in the public interest that the au- 
thenticity of the paintings should be es- 
tablished if possible. Justice Finch told 
Attorney Eliot Norton for the defendant, 
who opposed trial at this time, on the 
ground that his client was in Italy, that 
the defendant could have reached this 
country in time for the trial if he had 
started as soon as he got notice. 

Attorney Hollander pointed out in his 
application for the trial that although 
it was stated in behalf of Professor 
Volpi when the suit was brought that 
he would return to this country and es- 
tablish beyond a doubt that the pictures 
‘were genuine, that ‘‘ the defendant has 


taken every step possible to defeat the’ 


plaintiff on the technicalities and avoid 
trial on the merits.” Nearly a score of 
motions, among which was an effort to 
have the courts rule that the case must 
be tried in Italy, were made in Professor 
Volpi’s behalf and in each he lost. He 
stated that when the case was nearing 
‘trial last January Attorney Norton 
‘cabled and got an answer from the de- 
fendant that he would be here “in the 
‘Spring ’ to ask for an adjournment, but 
he has made no preparations to be here 
for the trial as far-as is known. . 


sy Rey 


(ge re OR TE) 0 ESC a 

S80 Call Curators, 20 
| > hee . TS coe 
_ Mr. Hollander stated that many of the 
‘witnesses he will call are curators of 
museums, and because their ‘'‘ time be- 
longs to the public” the lawyer asked 
that the case be set for a definite day. 

He pointed out that an order for the ex-. 
amination of Professor Volpi in behalf | 
of the plaintiff was obtained in October, 
1917, when the defendant came here for’ 
a sale of paintings and antiques, and for 
three months Professor Volpi fought to 
set aside the order, but was finally com- 
pelled to testify, 

The testimony of the defendant, which 
was made known yesterday, shows that 
Professor Volpi is 60 years old, and has 
been a dealer in art objects of all kinds 
for twenty-five years. Befare that he 
was a painter. Asked as to the source 
of his knowledge of ol masters, Pro- 
fessor Volpi said: 

“TI have been a painter since boyhood. 

A man named Bandini, who has a large 
business in Florence, engaged me as @ 
restorer, and I stayed with him for thir- 
teen years. That is where I got my 
knowledge and got into this business.’ 
| Professor Volpi said he bought the 
Van. Dyck .“‘ Augustin Lomellini’’.. in 
1910 or 1912. He said he could not re- 
member when he acquired the picture 
bought as a Rubens, *’ Carolus de Mal- 
l\lery,’’ but that he had a bill for it and 
| believed he bought it in 1912. When 
asked where he got the description of 
\the Rubens which was used in the cat- 
alogue of the American Art Galleries 
sale, where Mr. Johnson bought it, the 
defendant said: 
' ‘JT always see with my own eyes. I 
never go anywhere else to get informa- 
|tion. (The one who sold.it me held it 
as a Rubens.”’ 

‘‘ Before you put up the Rubens for 
sale ‘at your first auction in this coun- 
try did you have it examined by any 
experts or authorities or those whom 
| would be deemed experts?’’ asked Mr. 
| Hollander. 

‘“No, becausé the experts generally 
say a lot of nonsense.’’ 

‘“* How did you come to the conclusion 
that the picture was a Rvtens, and 
what were the distinguishing marks? ’’ 

‘““T have been a painter a long time 
and also a restorer, and in my wander 
ings in all these art galleries and mu- 
seums I acauired a knowledge of the 
| different shadings between painters. It 
|is impossible to give the distinguishin 
patie You feel those things, and tha 

s all.” ] 

Professor Volpi then stated that his 
answers would be the same if he were | 
questioned concerning the Van Dyck. 
“When. asked concerning Professor n- 
|chi of Florence, who was stated by the | 
| defendant’s representative to be one of 
ithe authorities wpon wham the defend-| 
fant relied for the authenticity of the 
| paintings, Professor Volpi said: : 

‘He ts an excellent restorer, perhaps. 
the biggest restorer we have in Europe.”’ 

“He did no restoring on these paint- 
ings, did he?”’ 

“No, they didn’t need it.” 

Professor Volpi admitted that for fif- 
teen years he has made his livelihood 
through dealing in pictures and art_ob- 
jects. He said he belleved that Van 
Dyck painted the ‘‘ Augustin Lomellini ”’ 
portrait when he was in Geona because 
the defendant bought the picture there, 
and it was always in the Lomellini 
family. - 

“Who told you that?” 

“The Marchese Reggio, who sold it 
to me. I suppose he must have been a 
member -of the family, because the 
portrait went into his home.” 


Bought from Laurenti. 


Professor Volpi. said he bought the 
Rubens from Professor Cesare Lau- 
/renti, a painter and restorer. Questions 
.by Mr. Hollender.then brought out. the: 
| statement that Professor Zanchi, who 
‘was his chief reliance as to the au-, 


ithenticity of the disputed paintings, has 
‘a, studio with the defendant in the Villa 
Pia, at Florence. He said he had no 
|doeuments attesting to the authenticity 
of the paintings except the original bills 
from the sellers, and never tried to get 


| any. 
“You did not think it’ necessary «to 
have your paintings, and especially the 
|Rubens and Van Dyck, expertized in 
| this country?” mt 
| “Certainly I did not,” 
| “Did you aéquire the Rubens and Van 
| Dyek at a public or private sale?” 
| * Private sale.” 5 ‘a 
Attorney Hollender pointed out that 
when the authenticity of the paintings’ 
|was first questioned by Mr. Johnson 
‘early in 1917 he wrote Cesare Gugliel- 
metti, the defendant's representative in 


| this city, and the latter replied concern- 
| ing the Rubens: ae 

| ‘*I bed to inform-you that this picture 
|was purchased by. Professor Volpi in 
1911 in a-very important sale in Italy 
and it originally. belonged to @ very, 
prominent family in Lucca. Professor 
Volpi always believed this was undoubt- | 
edly. the work of Rubens and ‘this opin: | 
ion has been confirmed by other experts 
in Italy, among them Professor Venturi 
and Professer Zanchi.’’ 


‘ 


Changed Van Dyck Frame. 


Professor Volpi replied, in answer to 

a question, that he didn’t know to what 
|family the Ruben belonged. Many ob- | 
| jéections to the questions asked him were 
|made by Francis P. Garvan, now the! 
| Alien Property Custodian, who appeared | 
at the examination in behalf of Profes- 

sor Volpi. The defendant said he threw - 
away the frame on the Van Dyck when 
he bought it because it was “‘ ugly,” 
and placed it in a new framé. The old 
one had been made fifty years before, 
he said. The, frame of the Rubens was 
not changed, he Said, but both were of 
\the period of the paintings, the end of 
the fifteenth or the beginning of the 
sixteenth century. He said he did.not 
look at the back of either painting for 
marks of authenticity before he bought 
them. He said that Professor Laurenti, 
who sold him the Rubins, was not only 
a pointer, but a sculptor and restorer. 
Mr. Hollander asked if there was 2 


picture resembling the Rubens in ar 
gallery in Europe and Professor Vo! 
replied : f Wa 
‘* Personally, I don’t know of any.” 
The defendant produced the original 
pills showing that he paid 22,000 fra 
for the Rubens and 46,500 frances for 
Van Dyck, he said. The bill from ; 
Marchese Reggio stated that the paint- 
ing was ‘attributed to Van Dyck.” 
The bill from Profess Laurenti for 
the Rubens said: “i declare that said 
portrait comes fram the ancient and 
noble family of the Marquis Spinola of 
Genoa, who owned it from iclent 
| times.”’ ee 
During the examination before Su- 
preme Court Justice Delehanty, A 
ney Hollander had marked for identif 
cation. two books on which the plainti 
will place great reliance in seeking to 
prove the two paintings bogus. One is 
a standard wor on the paintings of Van 
Dyck which contains 2. photograph 0! 
Van Dyck’s “Portrait of @ Mar 
hanging in the Dresden betatcge OS 
plptitt will ae ig. apg noe 
s the suppos Da } Ru 
“ Carolus de Sattere he 0! 
in the. Van Duck book and the p 
ee ale Keetiee are said to appear to 
pe identical. RS in 
‘The other volume is. dhe of the 
“Classics in Art Series” published by 
Brentano and written by Emil Schae 
|in 1908, which deals w the work: 
| Van Dyck. One of the classificatio 
the volume is headed “ Painted 
eign Hands,” or, as the plaintiff 
tends, pictures which were not the 
of the artist, but by others in imite 
of ie ae. j BS of the pictures. p' 
raphed, in $ group is on Page | 
eat tled ‘Portrait of a Nobléman o 
Lomeltini Family, in the Palazzo 
Marchese 


tan, Gettoa.”’ - The 


Marquis Nicolo Reggio Rosan d’A 
zune ot Genoa, owner of he Palazzo 
Rostan. ks > 


ice- 


¥. 


i, 


oF Saree 


S i. 
7 (a 
. 
- 
s 
. 
j 
3 ‘ 
‘ 
p 
fs ; ie 
A 
7 i - 
-_— 
Rae 3 Te ie ae 
ge To + ie 


ON FREESRUBLIG? VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING THURSDAY, NOVEMBER 16th, 1916 


AND CONTINUING UNTIL THE MORNING OF THE DATE OF SALE, INCLUSIVE 


THE 
RARE AND VERY VALUABLE 
ART TREASURES AND ANTIQUITIES 


FORMERLY CONTAINED IN 


THE FAMOUS DAVANZATI PALACE: 


ALSO THOSE CONTAINED IN 


PEEVE PLA 
FLORENCE, ITALY 


UNRESTRICTED PUBLIC SALE 


AT THE AMERICAN ART GALLERIES 


ON THE AFTERNOONS OF 
NOVEMBER 21st AND THE SIX FOLLOWING WEEK DAYS 
BEGINNING EACH AFTERNOON AT 2.30 O’CLOCK 
AND 


IN THE GRAND BALLROOM OF THE PLAZA 


ON MONDAY EVENING, NOVEMBER 27th 
AT 8.30 O'CLOCK 


Tue Davanzati PaLace 


ILLUSTRATED CATALOGUE 


OF 


THE EXCEEDINGLY RARE AND VALUABLE 


ART TREASURES AND ANTIQUITIES 


THE FAMOUS DAVANZATI PALACE 


FLORENCE, ITALY 


WHICH, TOGETHER WITH 
THE CONTENTS OF HIS VILLA PIA 


WERE BROUGHT TO AMERICA BY THEIR OWNER 


PROFESSORE COMMENDATORE ELIA VOLPI 


THE RECOGNIZED EUROPEAN EXPERT AND CONNOISSEUR 


THE COMBINED COLLECTIONS WITH THE EXCEPTION OF TWENTY ITEMS 
NOTED IN THIS CATALOGUE BY AN ASTERISK 


WILL BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE AFTERNOONS AND EVENING HEREIN STATED 


CATALOGUE WRITTEN BY MR. HORACE TOWNSEND OF NEW YORK AND MR. CESARE A. 
GUGLIELMETTI OF ROME, IN COLLABORATION WITH PROFESSOR VOLPI 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF 


THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK 
1916 


THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 


ALL DETAILS OF ILLUSTRATION ~ 


TEXT AND TYPOGRAPHY 


2. “= 
eon | Po? 
+ 
eg ee 
2 
i (a 
a rs es 2 
4 pare 
a “* 
= A) 
ga fa >. 
A oh? 5 
¥ Ps 
a fo 
i 
i 
Xe 
= 


AT THE AMERICAN ART GALLERIES 


Maptson SQuARE Soutu, New York 


ORDER OF SALE 


CONTENTS OF THE VILLA PIA 


TUESDAY AFTERNOON, NOVEMBER 21st 
BEGINNING AT 2.30 0’CLOCK 
IVORIES, MEDALS, BRONZES AND SCULPTURE 


CATALOGUE Nos. 1 To 169K, INCLUSIVE 


WEDNESDAY AFTERNOON, NOVEMBER 22np 


BEGINNING AT 2.30 O CLOCK 


LINENS, CUSHIONS, VELVETS AND FURNITURE 


CaTALOGUE Nos. 170 To 330, INCLUSIVE 


CONTENTS OF 
THE FAMOUS DAVANZATI PALACE 


THURSDAY AFTERNOON, NOVEMBER 23rp 
BEGINNING AT 2.30 O°CLOCK 
FURNITURE OF THE 14rhu, 15th AND 16TH CENTURIES 


CATALOGUE Nos. 331 To 454A, INCLUSIVE 


FRIDAY AFTERNOON, NOVEMBER 247TH 


BEGINNING AT 2.30 O CLOCK 


FURNITURE, MUSICAL INSTRUMENTS, ASTRONOM- 
ICAL OBJECTS, RUGS, CARPETS AND 
TEXTILES 


CATALOGUE Nos. 455 To 609, INCLUSIVE 


SATURDAY AFTERNOON, NOVEMBER 25TH 


BEGINNING AT 2.30 O CLOCK 


MAJOLICA, SCULPTURE AND ARMOR 


CATALOGUE Nos. 610 To 805, INCLUSIVE 


MONDAY AFTERNOON, NOVEMBER 27TH 
BEGINNING AT 2.30 O'CLOCK 
GLASSWARE, BRONZES AND IRON 


CATALOGUE Nos. 806 To 979, INCLUSIVE 


TUESDAY AFTERNOON, NOVEMBER 287TH 
BEGINNING AT 2.80 O'CLOCK 
ANCIENT LINENS AND CURIOS 
CATALOGUE Nos. 1044 To 1215 


AND 
IN THE GRAND BALLROOM OF THE PLAZA 
I'irrnH AVENUE, 58TH TO 59TH SrTREET, New YorK 
MONDAY EVENING, NOVEMBER 2771 
BEGINNING AT 8.30 O'CLOCK 
ANCIENT PAINTINGS 


From tHe Famous Davanzatt PALACE AND THE VILLA PIA 


CaTaALoGuE Nos. 980 To 1043 


THE DAVANZATI PALACE 
AND THE VOLPI COLLECTION 


Having had occasion to write to the Editor of that leading French 
art review “Les Arts” concerning the reprinting of the “Davanzati 
Palace” number, I took the opportunity of saying a few words about 
the pains I had taken to bring together the beautiful things which, 
for so many years, made this Palace the most.interesting museum in 
Italy of Renaissance life and art. 

I also referred to the unhappy state of Europe which has 
forced me to disperse the gatherings of years, and gave the reasons 
for my determination, not only that my collection should be sold at 
public auction, but that the sale should take place in America. 

I now find myself on the threshold of that event and somewhat 
perplexed. 

Every complete catalogue, it appears to me, should have an 
introduction critically explanatory of the collection that is to be sold. 
In my case I had long hoped that, when the time came, the intro- 
duction to my own sale would be written by Dr. Wilhelm von Bode, 
of the Berlin Museum, who has always intended to devote a book 
to a complete description of the Davanzati Palace and its contents. 

That, however, is clearly impossible, and it is left for me, myself, 
to briefly introduce my collections to the American public. 

My métier, it is true, is not that of a critical writer, but I think 
I may, without offending good taste, indicate what, so far as I may 
judge, are the most noteworthy objects among those I am offering 
for absolutely unrestricted acquisition by private collectors and lovers 
of Italian art. 

Among the pictures, for instance, it will be found that the few 
from the Davanzati Palace belong, without exception, to the School 
of Italian Primitives, the majority coming from the sacristy of the 
convent of St. Felice in Florence. My own Villa Pia collection covers 
a wider field, and includes two masterpieces of decorative art by the 
great Titian, an historical Madonna by Francia, a portrait by Bor- 
done, and a small gem by Francesco Guardi. 

Among the sculptures in stucco and terra-cotta the Davanzati 
Palace Madonnas are known to all connoisseurs, as are also the au- 


thentic busts of Dante and Petrarch, while in my private collection 
the great sculptor Gian Bologna is represented by two bas-reliefs, 
and there is a Tabernacle by Donatello. 

The bronzes, in what will doubtless be the opinion of admirers of 
the great art of Praxiteles, Scopas and Lysippus, are headed by the 
early Greek “Sappho,” one of the most beautiful statuettes in the 
world, while lovers of the more humanistic art of the Cinquecento 
Italians will be attracted by Pollaiuolo’s “Marsyas” and Tribolo’s 
“River-God,” which formed the pick of the Countess Stroganoff’s 
famous collection. Beyond all words of mine, finally, is the bronze 
incense burner of Riccio, which Dr. Bode declared to be one of the 
most beautiful of existing Renaissance bronzes. 

The Davanzati Palace collection of majolica is a notable one, 
for among it will be found, not only some rare blue and white 
Cafaggiolo ware, but a few pieces of lustered Gubbio ware, as well 
as examples of Maestro Giorgio and Giorgino themselves, but it will 
chiefly interest by its showing of primitive Orvieto majolica—the re- 
sults of the fortunate excavation, in 1911, at Orvieto, concerning which 
Dr. Bode has written so ably and so exhaustively. Finally, the 
small gatherings of ivories are enriched by the French Gothic Ma- 
donna of the Stroganoff Collection on its fifteenth century Pisan 
base, the rugs by the famous fifteenth century “Doria Rug” from 
Genoa, the tapestries by that world-renowned example of Flemish 
weave known as the “Prince Altieri” tapestry, and the linens by a 
number of uncommon pieces from the Davanzati Palace. 

To enter into further details of a collection catalogued so fully 
and with such care would be useless, but I take the opportunity of 
extending my sincerest thanks to Professor Zanchi, the well-known 
art-critic of Florence, for his aid in preparing the catalogue so 
admirably written by Mr. Horace Townsend, and above all to Mr. 
Cesare A. Guglielmetti of Rome, who has most effectively, co- 
operated with me in this sale. 

In reply to a question that has often been asked me since my 
arrival in America, I may add that the Italian Government consented 
to the removal of these objects of art because, at the present stage 
of National affairs, they. shrank from purchasing so extensive a 
collection, especially as I expressed to them my hope of seeing the 
Davanzati Palace itself become, at some time, the property of the 
nation. 

But, after all, the most important declaration I have to make 


is that each piece here catalogued can stand by itself as a genuine | 
example of Italian art. Before acquiring any single object I have 
studied it thoroughly and convinced myself of its worthiness. Thus, 
those who purchase have the benefit, not only of my life-long experl- 
ence in the world of art, but also of my confident belief in the 
genuineness of every object offered at this sale, which I may say 
includes only the private collection from my Villa Pia and that of the 
Davanzati Palace. 


ELIA VOLPI. 
New York, November, 1916. 


CATALOGUE _ | 


IMPORTANT NOTICE 


Contrary to the general custom of the Association, it has per- 
mitted, by reason of their unique character and great value, a reserve 
price to be placed by Professor Volpi upon twenty items of his re- 
markable collection, and such items will be identified in the catalogue 
by an asterisk. 

With the exception of the aforementioned twenty items the sale of 
the collection, which comprises over one thousand catalogue numbers, 
will be absolutely without reserve or restriction, as is the case with 
all the sales held under the Association’s management. 


THE AMERICAN ART ASSOCIATION, Manacers. 
New Yorx, November 15, 1916. 


FIRST AFTERNOON’S SALE 


TUESDAY, NOVEMBER 21, 1916 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 1 to 169k, inclusive 


FIFTEENTH AND SIXTEENTH CENTURY IVORIES 
6 Hoar 
1—Firreentyu Century Frencu Ivory Mirror FRAME | 
Circular frame of ivory, carved with animals at the angles and, 


a 
S40 at the back, with a cusped medallion with figure subjects. 
Length, 334 inches. 
te 
YVR: WK: & VV RAM" 
2—SixreentH Century Iranian Ivory-InLaip Powper FLAsk 
Circular-shaped powder flask of wood inlaid with ivory in a 
0 : 
(9-9 pattern of circular medallions. Brass neck. 


Diameter, 5 1/8 inches. 


} of 


4 ’ > 
ob. Y- 0 arolrvg 
38—FirrreENTH CENTURY FRENCH Ivory Box 
Cylindrical form, with flat hinged lid. The sides are decorated 


‘— with painted figures of animals. The applied hinges, square and 


escutcheon plate are of wrought and gilded bronze, and there is 
a small swinging loop handle of the same metal. _ 


Height, 51% inches; diameter, 424 inches. 
From the Countess Stroganoff Collection of Rome. 


y) 
trent 
4—SIXTEENTH CENTURY ITALIAN Ivory-INLM{p PowvER FLASK 


Bottle-shaped, of wood, inlaid with ivory.. On one side a man 


—— in sixteenth century costume holds in his hand a label on which 


is an inscription in Roman lettering. On the reverse is a Saint 
above with a man kneeling in front of a cannon. Brass meas- 
uring tube and silk cord. 


Height, 81/4, inches; width, 5 7/10 inches. 
f? ~ 
Yr: VW: oe CanrmriAar Aer 


5—FIrrEENTH Century [Taian Ivory-INLAID JEWEL-CASKET 
Octagonal shape of ebony inlaid with ivory, with hinged cover 
of pinnacle form and molded ebony base. The sides are deco- 
~ rated with ivory figures, carved in relief, of cavaliers and ladies 
in fifteenth century costumes. The backgrounds of the niches 
in which they stand are painted in colors with floral sprays. 
The upper side of the spreading lid is inlaid with a geometrical 
patterning and the pinnacle top with lozenge-shaped plates of 
ivory painted with flowers. The cylindrical interior lined with 
old red satin. ; 
Height, 6 1/38 inches; diameter, 5% inches. 


6—SEVENTEENTH Century [rattan Ivory Pax or THE SCHOOL 
OF BERNINI (CL (3 Lad Bee 
330° a Rectangular shape. Formed of a semi-cylindrical plaque of 
ivory carved in low relief with a subject of “The Deposition 
from the Cross.” The plaque is framed in.chiseled bronze with 
a figure of St. Veronica above, and at the sides two angels, in 
high relief holding emblems of the Passion. Mounted on wood 
with a carved wooden handle. 


Height, 61: inches; width, 4 1/8 mches. 


Lente Vrehntorhn 
7—FourTEENTH Century UMpriaAN TABERNACLE f 
Tabernacle of wood, with pointed arch top. The center is 
3 po nes paneled with an ivory plaque carved in low relief with a subject 
of a Crucifixion, the two wings with Saints holding swords. 


Height, 13 4/5 inches; width, 91% inches. 


phe Nios 
8—SIXTEENTH CENTURY SPANISH Ivory Eieure i <oe 
Full-length figure of a nude Putto in ivory. He holds his right 
Vow hand to his face; the left arm hangs by his side. On his wrists 
oT are wrought gold bracelets and on his feet gold sandals. The 
hair, lips and eyes show traces of color. 
Height, 814 inches. 


From the Countess Stroganoff Collection of Rome. 
yj a 


9—SrxreentuH Century Iratian Rock-crysTaL Cross 
A devotional cross of cut rock-crystal, with floriated pierced 
terminations to the arms of enameled gold. The cross is in 
U . . 
2g 7° a contemporary silken gold-embroidered case. 
Height, 4 1/38 inches; width, 29Y inches. 


f 
wy erie yap | 
J Ck, prt Nh, MAUL 


10—FourTEENTH CENTURY FRENCH GorHic Ivory FIGURE 


Full figure of the Madonna shown standing with the Infant 
— Christ supported on her left arm. She is dressed in a tunic 
Ce gathered at the neck and a large flowing mantle. Upon her 
head is a coif and a voluminous wimple, one end of which is 
drawn under her right arm and is then gathered about the lower 
portion of the body of the Divine Child. The Madonna holds 
in her right hand and presses to her bosom a conventional 
rose, while the Infant Christ clasps an orb in His left hand 
and raises the right in an attitude of benediction. ‘The face of 
the Madonna, despite the conventionality of the treatment, is 
distinguished by its impressive air of almost austere serenity, 
while the Child with His realistically curling hair looks to His 
mother with smiling confidence. The figure stands upon an 
ivory and bronze pedestal of Italian, probably Pisan, work of 
a somewhat later period. It is rectangular in form, with de- 
tached Ionic columns of gilded bronze at the angles, a gilded 
bronze cornice enriched with delicate flutings and a base of 
similar character on turned bronze feet. In the front is a plaque 
of ivory exquisitely carved with a Crucifixion. The Christ on 
the Cross in the center, with the two Maries on either side, 
standing beside Him in attitudes of deep dejection. Above is 
a late Gothic arcading of three trefoiled and crocketed arches. 


4 ——— 


Height of statue, 111% inches; height of base, 24% inches; width, 
21% inches. 


From the Countess Stroganoff Collection of Rome. 


(Illustrated) 


No. 10. FourTEENTH CENTURY FRENCH GoTHIC 
Ivory FicureE 


STATUETTES AND DECORATIVE WORKS IN BRONZE, 
CHIEFLY ITALIAN OF THE XVIth CENTURY 


Happily suggested of wide field covered by the Italian Renais- 
sance workers in decorative bronze is Professor Volpi’s collection. 
It includes, on the one hand, one of the most humanistically beautiful 
Greek bronzes that has ever been exhumed, and on the other a superb 
example of the riotous imagination of the Cinquecento in the incense 
burner fashioned by that Andrea Briosco we know as Riccio. It was 
undoubtedly to their delight in the newly found treasures of an- 
tiquity that we owe not only the superb modeling of such figures as 
Pollaiuolo’s “Marsyas” or 'Tribolo’s “River-God,” but also the jewel- 
like perfection of Sansovino’s Candelabra or of Riccio’s little master- 
piece. 

So admirable, however, was the work of this entire generation, 
so individual the touch they added even to their frank plagiarisms of 
the antique, that it is no cause for wonderment that within the last 
score of years hardly any sum has been considered, by the authorities 
of National Museums or by private collectors, too great to pay for the 
works of these sixteenth century bronze-casters. 


Haak 


BRONZES, MEDALS AND PLAQUES OF THE FOURTEENTH, | 
FIFTEENTH AND SIXTEENTH CENTURIES 
Ss ~~ 1, | 
W—Firreente Cenrury Iranian Mepei OU rr UY Nerelt 


; On the Obverse the head of Sigismondo Malatesta, Lord of 
/ > — Rimini; on the Reverse a view of a temple and the date mccccz. 


Diameter, 14% inches. 


| “A 1 ih, 
\ of fr. / oy Wi 

12—FirreentH Century Iranian Mepan ~~ ¥ @*UVOWrarcé 

On the Obverse the head of Giovanni Bentivoglio; on the Re- 

verse the inscription: MAXIMILIANI IMPERATORIS MUNUS. 


AL MccccLxxxxi (The gift of the Emperor Maximilian 1493). 


Diameter, 1¥% inches. 


A a, 
4 


ae ¥ , / 
183—FirrerentH Century Iranian Mepan VV‘ / “C+ Krr1 X22 
On the Obverse the heads of the Emperor Maximilian and the 


= Empress Maria, of Austria. 
ig Diameter, 1% inches. 


, (\ /) 
14—SrxTeentH Century Iratran MEDAL 26 > ere 
On the Obverse the head of Pope Sixtus IV; on the Reverse 


/ 2.52_ the coat-of-arms of the Della Rovere family. 
Diameter, 134 inches. 


From the Countess Stroganoff Collection of Rome. 
15—SrxreentH Century Iranian Mepan 70° OW SS eigen g 
On the Obverse the head of Pope Calixtus 3rd¥ on the Reverse 
/ 2- <a sea-scape with shipping. 


Diameter, 15% inches. 


From the Countess Stroganoff Collection of Rome. 


16—THIRTEENTH CENTURY Limoges ENAMEL PLAQUE 
Circular shape. Small plaque of Limoges enamel, decorated 
_ )°2— with a coat-of-arms consisting of a tree flanked by two winged 


animals. 
Diameter, 134 inches. 


Oo Aner i FAW 


17—FIFrTEENTH CENTURY ITALIAN Bronze PuiaquE (By I / 
er Ag Moderno: XVrTH CENTURY) 
“ Oval shape. Subject of “Apollo and Marsyas.” In low relief. 


Height, 11% inches; length, 142 mches. 


va) /) ee 4 
VV Ve: ©. Intra 
18—FourTEENTH CENTURY ITALIAN BRONZE PLAQUE 
Rectangular shape. Subject: “Warrior Casting a Spear.” In 


, ¥2 low relief. 
re, 
Height, 214 inches; width, 134 inches. 
g 4 A. 


19—SIxXTEENTH CrEnTURY ITALIAN Bronzt/ PLAQUE 
Square shape. Subject: “A group of Figures in Classie Cos- 
y«  tume, representing an episode in Roman History.” In relief. 
( ~~ Signed Io. F. F. 
Height, 252 inches; width, 248 inches. 


Maren Gc SseaaEEN Birk 
20—SIXTEENTH CENTURY VENETIAN MEDAL 6 ( 
te On the Obverse the head of Cardinal Bembo. 


21—SrxteentaH Crenrury Iranian Mepat //- Vth 
ee On the Obverse the head of Marco Estense di Ferrario. 
A A Paes () 
22-—Furreento Century Iranian Mepa 4%? WL atcd al oh 
On the Obverse the head of Pope Pius II (Aeneas Sylvius). ( f 
age 


ie Diameter, 21% inches. 


23—F'irTeEeNtTH CrEntrury IratiAn Bronze PLAQUE (By Il 
a4 ve Moderno: XVru Cuntury) (Pp & Ue ees 
ot Rectangular shape. Subject: “Sleeping Hercules: in Land- 

scape with Cattle.” Modeled in low relief and signed “Mo- 


derno.” 
Height, 284 inches; width, 21% inches. 


ge Pe at v /, L ry 
Uv \ ri if f 
By OFA Osa im BL 
24—FIFTEENTH CEentTUuRY ITALIAN Bronze PLAQUE 7\OAA-TTN 
Circular shape. Subject: “The Judgment of Paris.” In low 
"\ VF 


#5 — relief. 
Diameter, 24% inches. 


“Aa : f LA y 
25—FIFTEENTH CEntTURY ITALIAN MEDAL VELA COn-man1 8 


On the Obverse the head of Girolamo Savonarola. 


it 2D Soe 4 ; 
Diameter, 214 inches. 


Ai aes 
26—SEVENTEENTH CrentTuRY IraLiAN MEDAL 4%, .\ypZuirig,, 
Ton On the Obverse the head of Galileo Galilei. 


Diameter, 34/4 inches. 


27—Firrrento Century Irarian MepaL G67lir- nr X' 
z _ On the Obverse the head of Costantino Sforza d’ Aragona; on 
cod ~ the reverse a tower ae castle with the inscription: “Io FR PARMEN 


Datata MCCCCLXXvV.” 
Diameter, 314 inches. 
From the Countess Stroganoff Collection of Rome. 
ea a eae c 


v et nd fi , 
28—SrxTEENTH CENTURY ITALIAN BRronzE Bare es 


— _, Rectangular shape. Subject: “A Seated Madonna Holding the 
Vi q* ~ Divine Child to whom the young St. John the Baptist offers 
Fruit.” In the background are buildings and a vase of lilies. 


Height, 2% inches; width, 84g inches. 


— 


— 


, 02 


KK 

29—Sixrmenra Century Iranian Mrpan? GC: C tee 
On the Obverse the head of Lodovico Gonzaga; on the Reverse 

(‘ the figure of a knight with the signature, “Opus Posani Pic-_ 
toris.” 

Diameter, 3°4 inches. 


From the Countess Stroganoff Collection of Rome. _ 


ae | 
Wan | (2-7 : J 
30—F irreentH Century ITALIAN Bronze Prague O° Te Ke 


Rectangular shape. Subject: “Head of the Redeemer.” 


— 


Height, 234 inches; width, 354 inches. 


381—FirreeENtH CrEnTuRY ITALIAN Bee, Prague (By Il 
Moderno: XVtH CENTURY) 5 - 3 whee 


. Rectangular shape. Subject: “Hercules contending with the 
Nemean Lion.” Modeled in low relief by Il Moderno. 


Height, 318 inches; width, 284 imches. 


v 


On the Obverse the head of Sigismondo Pandolfo, Lord of 


32—F irTEENTH CrentTuRY IraLtiAN MEDAL & iG alfa 


ee Ra abies 
“Rimini; on the Reverse a towered castle. 


Diameter, 334 inches. 
From the Countess Stroganoff Collection of Rome. r rae r 
VY, / 
VURA» (¥ -§' 15 uUnry 
33—SIXTEENTH CENTURY ITALIAN BRONZE PLAQUE 


Rectangular shape in the form of a pedimented tablet with a 
triangular apron, containing the arms of the Medici family. 
—The plaque represents “The Holy Family.” In relief. 

Height, 4144 inches; whe 23/4, rae 

Y 
34—FirtrentH CeNnTURY IraLiAn Bronze PrQuey “al fentarg, 

Rectangular shape. Subject: “The Visit to the Infant Christ 
of the Three Magi.” In low relief. 


Height, 434 inches; width, 3 inches 


: ; A 

4 \ Y/ 

35—Firreenta Cxntury Iranian Bronzi YPLAQuE (By ifs 
Moderno: XVrtH CENTURY) ( 


Rectangular shape. Subject: “The Crucifixion.” Modeled in 
low relief by Il Moderno. 
Height, 43 inches; width, 3 inches. 


ee A 


1) 


g U) - Ww rs, eS A Af Va) 
36—FirreentH Century Iratian Bronze fixtés reiles ae 
, Rectangular shape. Subject: “The Circumcision.” In low 
“2 st ae : 
[ed relief. 


Height, 438 inches; width, 3 inches. 
Va) p! WA ha Ba 
ae VA [y YEG t 
37—SIXTEENTH Century Itarian Bronze seit eo Ot 
Oval shape. Subject: “Judas Betraying Christ by a Kiss.” 
0 — In low relief. 
Height, 4 inches; width, BY, inches. 
Vane Vero: Lorry Agert 
38— THIRTEENTH Century Iranian Bronze PLAQUE age ke Cai, ted 
a / 
Rectangular shape. Intaglio-sunk, the Obverse with the figure | 
of a Saint seated on a bench with a book upon his knee with 
¢ ; rae : : ape . 
3 JO — an inscription in Lombardic characters, “Hic est A postolus, 
a scrolled border and a shield with a rampant lion; the Reverse 
with a panel of scrolled ornamentation. 
Height, 61 inches; width, ATA, inches. 


A 


From the Countess Stroganoff Collection of Rome. 


39—FirreentH CENTURY IraLian es PLaguE (By Il 
j Py hd v vi : = / 
Caradosso) V0 VE AO err be 


77, 5% Rectangular shape. Subject: “Two Centaurs.” In low re- 
lief. Modeled by Cristoforo Foppa (I] Caradosso). 
Height, 8 inches; width, 2% inches. 
From the Countess Stroganoff Collection of Rome. . Ls ~~ 
Zo er-er Kel eed 
40—SEVENTEENTH CENTURY Irattan Bronzn Bas-RELIEF ft 
Profile, without background, of the head of Galileo Galilei. 


Modeled in low relief. 


a: — . . 
3 a Height, 545 inches; width, 634 inches. 


a6: hardin 
41—SIXTEENTH CENTURY BOLOGNESE BRONZE box Og 


A Pieta, or dead Christ, supported by his Mother, with an at- 
tendant Angel and a Cherub above. Attached to the back is 


PT o-5 an engraving, repeating the composition and attributing it to 


Sebastian del Piombo. 
Height, oo tes width, 53% inches. 
She 
tat’ LA 
42—S1xTEENTH CENTURY F'LEMISH BRONZE PLAQUE | 
Rectangular shape. Subject: “The Deposition of Christ in the 


g e 
eo Tomb.” In low relief. 
Height, 6 inches; width, 634 inches. 


eNO ae 


* 
| 
i 


iG bee 


43—FIFTEENTH CENTURY Manruan Bronze PLagur 


6¢ 


Square shape. The subject, a “Triumph of Love,” shows a 
triumphal car, the round-arched niches of its side filled with 
figures of Amorini, drawn by two horses mounted by Amorini. 
Surmounting the car is a winged figure of “Amor” holding a 
bow. In the foreground are figures of warriors and spectators 
and there is a landscape background. 


Height, 101% inches; width, 11 inches. 
From the Countess Stroganoff Collection of Rome. 


vanll 5 ie 
Yh WV Deaanrre Uae 
44—SIXTEENTH CENTURY IraniAN Bronze (By Romano) ; 


/ 


A rectangular Tabernacle Door formed as a panel, with a 
molded framework of bronze, projecting hinge-loops on one © 

750 ‘* side, pierced with a keyhole, and enclosing, in bas-relief, a stand- 
ing figure of the Saviour clothed in a single garment and with 
His right hand raised in the act of benediction. At His feet is 
a chalice. On the lower edge of the panel is an incised inscrip- 
tion in Roman lettering: PIETRO PAVLO NARDI 0 MANCINO 
ROMANO A.D. 1522 (Peter Paul Nardi known as left-handed 
Romano). 


Height, 15 inches; width, 7% inches. 


V0 Ss 6-10 err Of 
45—FIFTEENTH CENTURY VENETIAN BronzE Miniature Bown 


Coupe-shaped and decorated with elaborate chasing. 
5 ° is 
; Height, 134 inches; diameter, 41 inches. 
f 


Oe ee 
46—SIXTEENTH CENTURY VENETIAN BRONZE POUNCET-BOX 


Coupe-shaped, with covered top pierced for shaking sand or 
/° ~pouncet. Decorated around the sides with a broad band of 
scrolled ornamentation in relief. 


Height, 31% inches; diameter, 3 inches. 


eee Ae, 
\ vA J NMAAANAANLY 
47—FIrTEENTH CENTURY VENETIAN Bronze Box 


Cylindrical shape. The sides inlaid with silver in a pattern of 
p , © 4 e ° . ° . 
/ <- ¢ ~figures of Saints in Gothic niches, the top with a Holy Family. 


Height, 41% inches; diameter, 41% inches. 


ah Vf 

v 0) wy PAA : 
48—FIrTEENTH CENTURY FLORENTINE CoPPER LAQURI Eas 
Oblong shape, with arched top. Subject of the “Coronation of 
the Virgin.” In low relief. 


Cay 
( 


Height, 51 inches; width, 31% inches. 


From the Countess Stroganoff Collection of Rome. 


Wino ’ CLs Vigs +S 
49—FIFTEENTH CENTURY Papuan Bronze Inxsranp (By II 
Riccio) 
. ,., oe triangular shape, the sides elaborately decorated in relief with 
~~“ a design of scrolls and masks. At the angles are detached 
scrolls. Standing on a stem and base formed of an eagle’s claw. 


Modeled by Andrea Briosco (II Riccio). 


Height, 4 inches; width, 5 inches. 
(\ f cy : 
\ 4 (5 1 
ee OANA 
50—Earty Roman Gitt Bronze Ongamenr se 
ee: Leaf of a Serto or woman’s head-dress, representing a Roman 


: deity. Modeled in low relief and gilded. 
Length, 434 inches. 


f . 


7 —— 4 


ie LAD 9~ \~~ = "7 LAA Sh 
es KA / LT) 
51—Fourternty Century Frencu Bronze CANpDLESTICK cube 
Cylindrical stem, with incurved spreading base. The base is 
—eb : : 
/ 5 “— decorated with a panel of Limoges enamel. 


Height, 42% inches. 


From the Countess Stroganoff Collection of Rome. 


f a ~ 
.< J 
/ boy > 
— 


52—FirrrentH Century Papuan Bronze INKsTANnD 

Triangular shape with cover. The side decorated with\ panels 

of scrolled ornamentation and with detached scrolls at the 

RO e*_ angles. ‘The cover is decorated with acanthus leaves and has a 
ball finial. Supported on a tripod of lions’ legs and paws. 


MAL 
ee” 


Height, 514 anches; tpidtl 5A inches. 


WY / 


Bag V Hy sh. Ooasaiuk: 
58—SIXTEENTH CENTURY PaDUAN ite INKSTAND Se, ; 
Rectangular shape without cover. Supported on lions’ paw | 

pee rect. 
7 0 as Height, 3% inches; width, 644 imches; depth, 434 inches. 


a] 


hg AZO | i k wt KY 
OV BM erp 
54—KE arty Roman (First Century B.C.) Bronze HaAnpb ie 


Loop shape. This handle, which originally formed part of 
alae candelabrum, is decorated on the outer side with an imbricated 
~ patterning sunk between the reeded edges. The upper end 
terminates in a female mask, the lower in a lion’s head and paws, 


the eyes being inlaid in silver. 


Cs. 
G 


Lengens 7 inches. 


rf 
PA Y (af ff ; 

ly ( f / a 
A CHAA ‘0 yy, & 


55—F IFTEENTH CENTURY ITALIAN Bronze CENSER 
Coupe-shaped, with pierced doomed cover. The sides are deco- 
rated with figures of animals and scrolls in low relief and there 

C; ¢s#«__are chains for swinging. 


. Height, 71 wches. 


‘iia fy L 4 
yn SiGe (rs 9,7 . CA pF 
56—Two Firreentu Century VENETIAN BRonzE CANDLESTICKS 
Cylindrical stems on incurved drum-shaped bases. Elaborately 
Uy ¢ j ?—-decorated in incised work (graffito) with arabesque patterning 


of scrolls and shields. 
Height, 7 inches. 


ereres K Rees Yoho, Ogu 


57—FirtrentH Century Iranian Bronze Mortar ( 
Cylindr ical shape, with incurved sides. ‘The rim 1s acciteeel 
S24 ‘in rvelief, with a honeysuckle patterning, the sides with festoons 
of ribbons supporting shields below which are various animals. 
The projecting handles are formed as dolphins and the base 
is gadrooned. 
Height, 6 pee ie 7 mches. 


58—SIxTEENTH CENTURY ITALIAN STEEL Ef, Wa. hs g 


Rectangular shape, with rounded hinged lid, in the form of a 
, ¢¢ trunk. Around the center of the sides and top runs a raised 
and rounded ribbing. On the top is a looped swinging carrying 
handle. The sides and lid are decorated with conventional bor- 
derings and a field of arabesque design damascened in silver. 


f Sa 


Height, 634 inches; length, 624 inches; width, 414 inches. 


59—FourteentH Century Frencu Bronze Naverte (Incense 
Boat) ew, eo bree 
~_,_,, « Boat-shaped, on a short cylindrical sry with circular foot. The 
U double-hinged lids are decorated with figures of the Virgin and 
Archangel Gabriel in colored Limoges enamel, and the sides 
with a wave border and a patterning of chasing and Limoges 
enamel. The two handles are formed as serpents’ heads. 


Height, 21% inches; length, 834 inches. 
From the Countess Stroganoff Collection of Rome. 


OLA | ey > ee Ager 
60—SIXTEENTH CENTURY PanUAN Bronze INKSTAND ( 
Coupe-shaped, with domed cover surmounted by the figure of a 
4-7, , ¢¢ Roman warrior holding a spear. Supported by three eagles. 


4 fw 


Height, 1034 inches; diameter, 8 inches. 


61—Two Late SIxTEENTH CENTURY ITALIAN SILVERED COPPER 


CANDLESTICKS Ve: (S. PAs Ape 
y Vase-shaped stems, with circular disk below and domed base. 
° ’*~ ~The stem and base are decorated with bold repoussé gadroon- 
ings. 
Height, 10 inches. 


~— aR 
\' . Peak NAKAN1 ae Cae 
62—Roman PerrumMe Fuask or THE First Century B.C. 
Pear-shaped, the upper portion of the neck is fluted, and 
STt'— around the rim are grotesque masks; the rounded base is deco- 
OG ; ees cae 
rated with a band of vine leaves, grapes and tendrils in relief 
and with flutings, while around the center is a band decorated, 
in relief, with figures of dancing Nymphs clasping hands. ‘The 
figures and the masks are gilded. This piece was exhumed in 
Transylvania near the Roumanian frontier. (Corroded by age.) 


Height, 91% inches. 


683—Two Earty SIXTEENTH CEenTUuRY ITALIAN Bronze CANDLE- 
sticks (By Jacopo Tatti, known as Jl Sansovino:  _ 
tue 1477-1570) Yyrre \e-to. 4 Qa 
Vase-shaped stems, the upper parts decorated with festoons of ( 


drapery, husk pendants and acanthus leaves, the lower pants 
with cherubim heads and outstanding voluted scrolls. The 
domed bases are decorated with bold egg and dart mold- 
ings and are supported on three female caryatides with out- 
stretched wings, between which hang knots of drapery, and 
terminations of lions’ paws and acanthus-leaf scrolls. 


Height, 1214 inches. 


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64—T'wo SixreentH Century [rattan Bronze CANDLESTICKS 

School of Alessandro Vittoria of Venice. Baluster-shaped 
= ,* stems decorated with acanthus-leaf scrollings and pendants of 
Pav fruits. On tripod bases of voluted scrollings ending in sphinxes 


with scrolled feet. 
Height, 167% inches. 


2 eet ae 
65—SEVENTEENTH Century Irarian Bronze Mirror FRraMe 
Rectangular shape, with molded side and acanthus-leaf deco- 
* ++ rated angles. In the center of the two sides and the top are 
ns cherubim heads and in the center of the bottom an escutcheon 
with a coat-of-arms, all modeled in high relief. 


Height, 16 inches; length, 2034 inches. 


66—FIrTEENTH CENTURY UMBRIAN SILVERED BRONZE INCENSE 


Boat CUD § SernrierRhg 
Ghote ¢£—Boat-shaped, on short cylindrical stem with knop and spreading 


circular foot. Between the hinged covers is a plate inscribed in 
Roman letters: PRO ANIMA D. IA. FABRIANO PALATINI (For the 
soul of Ia. Fabriano Count Palatine). 


Height, 6 inches; length, 838 inches. 


67—FourtTEENTH CrntTuRY IraLIAN Gi_t Bronze RELIQUARY 
Cylindrical shape, with pyramidal cover, on a columnar stem 

,. With knop and spreading circular foot. The cylindrical body 

40 is of rock crystal, forming a holder for the relic, and the cover 
terminates in a cross. The knop is decorated, in colored enam- 

els, with the arms of the Albizzi family. ) 

Height, 1038 inches. 


(See 


68—T'wo SIXTEENTH CENTURY eas Bronze CANDLESTICKS 

Cylindrical stems, with knops and standing on cylindrical bases. 

2, , %¢_The upper part of stems decorated with an incised coat-of-arms 

of the Medici family in colored enamel. Circular bobéches and 
iron prickets. 

Height, 1234 inches. 


NAA AY D ne ‘ 
69—Earty Roman Bronze eri eet oa rit 


Shaped as a steelyard with books and a weight formed as a head, 
es and suspended by a chain. The surface gives evidence of long 
burial in the earth. Exhumed near Rome. 


Length, 91% iches. 


haw > Vo No wine 


70—ANCIENT PersiAN Bronze Perrumre Ho.per 


Formed as a fantastic winged animal with two heads bearing 
fu ‘ion its back a smaller bird. Decorated with an incised pattern- 
i ing, the body, neck and heads pierced with holes. 


Height, 914 inches; length, 7 inches. 


From the Countess Stroganoff Collection of Rome. 


~71—Two S&EvENTEENTH CENTURY ITALIAN Bronze Mirror - 


FRAMES WO \Ghrrnigpre 


_, ,« _ Rectangular shape, with molded sides and acanthus-leaf deco- 
/{ 0 ~~ vated angles. In the center of three sides are cherubim heads 
and on the fourth side an escutcheon with a coat-of-arms, all 

modeled in high relief. 
Height, Ree inches; width, 9 inches. 


= A 
“f or.) 


Ao~ (A -/ GUN Qrr 
72—Two SIxTEENTH CENTURY Traian tee CANDLESTICKS 

: / __ Baluster-shaped stems, elaborately molded, on circular spread- 

o A) —— 


ue. Ps 
ing feet. Circular bobéches and iron prickets. 


Height, 181% inches. 


a fj A \ 
VW ( ”/ : 
LA. ™ U C 
73—FIFTEENTH CENTURY ITALIAN BRONZE ‘Cuvee 


Coupe-shaped body, with pierced pinnacle-shaped cover. The 
DO ‘sides are decorated with an arabesque ornamentation in low 


: relief and there are chains for swinging. 


Hegre inches. 
74—SIXTEENTH CENTURY ITALIAN BRONZE STATUETTE 
; 
A standing figure of “Flora.” 
— pom 6 


‘ 
Pe Height, 14% wmcehes. 


75—SIXTEENTH CENTURY ITALIAN Bronze eghen: (By Il 
Sansovino) Ve~ A. Niyere 
The figure of a child in bronze upon a wooden base. Modeled 
LEST by Jacob Tatti (11 Sansovino: 1477-1579). 
Height, 8 inches. 


Note: Jacopo Sansovino, who lived to the great age of ninety- -three, 
left Rome after its sack in 1527, and, taking refuge in Venice, was 
during the last half of his life a fellow-worker with Titian, Paul Vero- 
nese and Tintoretto. 


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TOP DW S Od ne he 


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rw (r%- MAY Kan 


76—FIFTEENTH CENTURY ITALIAN BRONZE 


wT” 
o Figure of a standing bull on a square base. Attributed to 


Vellano, a noted sculptor of the fifteenth century. 


Height, 12 inches; length, 15 ches. 


CLG (Banurttgene 
77—Srixreentu Century Irauran Bronze “FarnesE Buy” 
Figure of a charging bull, on an oblong base. Sixteenth cen- 
2» 7 ¢2_ tury copy of the celebrated third century B.C. original, now 
III 
in the Museum at Naples. 


Height, 7 inches; length, 1214 inches. 


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78—SIXTEENTH CENTURY ITALIAN BRONZ 
Figure of a charging wild boar, represented at the moment it ‘is 
Se being attacked by an enemy. On a contemporary molded and 
gilded wood base. 
Height, 5 inches; length, 9 inches. 
Note: This admirably realistic little figure, so expressive of rapid 


motion, has been attributed to Benvenuto Cellini (1500-1571). It cer- 
tainly is of his period and the work of his school. 


oe ee en 


ce Sp lag ACT aia aA AAS NCIC th in hit Me ati cra ig So" - 


COG (3 Ee Go 

79—SIXTEENTH CENTURY ITALIAN BRONZE ee hee 
Formed as two finely modeled female half-figures, with grace- ( 

ful acanthus-leaf terminations, resting on voluted scrollings 

-) () “— decorated with imbrications and supporting, with outstretched 
arms, an elaborately scrolled escutcheon bearing a tree (the 

arms of the Della Rovere family), and a label with the in- 

scription, CONCYSSA UBERIOR, in Roman lettermg. Distinguished 


by a fine patina. 
Height, 61% inches; width, 91% inches. 


Note: This exceptionally well-modeled knocker came from a villa in the 


North of Italy belonging to the Della Rovere family. 


*80—GREEK Bronze STATUETTE OF SAPPHO OF THE FourtTH CEN- 
TURY B.C. & - A Ko ApALAD 

Figure of a woman, identaed = as the poetess Sappho, seated, 
¢ with her legs crossed, on a low bench supported on lions’ paws. 
She is dressed in a chiton fastened at each shoulder, and girdled 
at the waist with a strophion from which falls a himation cover- 
ing the lower part of the figure. Her head is bent forward and 
her eyes are downcast, her hair is parted in the middle covering 
the ears, is knotted at the back with two curls falling down to 
the shoulder and is garlanded with a wreath of roses and leaves. 
The right arm is stretched forward with the open hand bent 
downward, and originally rested on a musical instrument as 
shown by the holes drilled in the drapery of the figure. The 
left arm rests on her knee and clasps to her breast a roll of 
parchment. ‘The feet are bare and unsandaled. The figure, 
which was cast in one piece, save for the arms, which were 
separately attached, rests on an oval molded base of marble 
which is supported on an antique cylindrical marble shaft. The 
upper part of this shaft is carved in an imbricated pattern, the 
lower part in flutings which die away into a base of up-springing 

acanthus leaves. Fine dark patina. 
Height, 11 inches. 


Note: This exquisite little statuette has, since its comparatively 
recent exhumation, been accepted as one of the finest existing examples 
of Greek art by the foremost archeologists and art critics of Italy. 
One of these, the well-known Professor Goffredo Bendinelli, devoted 
to its consideration a long illustrated article which appeared in the 
Ausonia for 1911. ‘This publication is the annual Review of the 
Italian Society of Archeology and the History of Art. In it Pro- 
fessor Bendinelli says that he had the good fortune, while at Athens, 
to see “this very important work of classical art,” which he then had 
an opportunity to study. It was exhumed at Melos, he tells us, and 
proceeds to devote the first part of his article to a comparison of the 
bronze and the elegant Tanagrene terra-cottas which, he points out, were 
so numerous on the Greek market at the death of Alexander in the 
third century B.C. He concludes that there are but few points of 
resemblance between these Tanagra figures and the bronze he is study- 
ing. Only in such exceptional terra-cottas as display the serenity of the 
school of Pheidias and the influence of Scopas, Praxiteles and Lysippus 
does he find any resemblance to its facial expression. He finds its 
entire conception akin rather to the series of important works headed 
by the Psyche of the Naples Museum and the Resting Warrior of the 
Ludovisi, the first attributed to Praxiteles or Scopas, the second to 


“YO AUQINGA) HLUNOY AHL tO OHdd VS HO ALLANLIVIG AZNOUG HAAUL) “OS ‘ON ®M 


Lysippus. “Our subject,” he finally declares, “belongs to the golden 
period of Greek art, the close of the fourth century B.C., and is an 
individual work of art not to be classified with any other examples. Its 
originality transcends every artistic tradition and its beauty has 
never been exceeded.”’ 

Professor Bendinelli then proceeds to state his conviction that the 
bronze is intended to represent the poetess Sappho, Byron’s “Burning 
Sappho who loved and sung.” Passing in review the familiar represen- 
tations of the poetess, from the Syracusan statue stolen by that Verres 
against whom Cicero delivered his orations to the representation on a 
vase in the Athens Museum, he finally concludes that this bronze is more 
undoubtedly a portrait of Sappho than any of the others. 


(Illustrated) 


81—F IrTEENTH CENTURY ITaLIAN Bronze Staturettre (By An- 
tonio Pollaiuolo: 1433-1498) (7 (3 uy .24- Agu 
, »« After the Greek antique. Representing Marsyas, the competitor 
~ ~ of Apollo, as a nude figure with hands raised in the attitude of 
playing the double pipes, the bandage used in playing which 
covers his mouth. The figure stands on a contemporary 
base of bronze, of Paduan workmanship. This is square in 
form with incurved sides, having at the angles figures of winged 
sphinxes terminating in boldly voluted scrolls and dolphins’ 
heads between which are suspended scrolled escutcheons, with 
coats-of-arms, and military trophies. 


—_ 


a 
a & 


Height with base, 14 feet 1 inch. 


Illustrated in Professor Venturi’s catalogue of the Countess Stroganoff 
Collection. 


(Illustrated) 


By Awxtonto Porrarvoro: 1433-1498 


No. 81. Frereextu Century Irauianxn Bronze Statvce 


82—B arty FirreentH Century FLORENTINE Cross or ENAMELED 


nf oe / /) a 
GOLD AND SILVER {| J VV ard hr 


Latin cross, covered with plates of yt finely chased in elabo- 
rate arabesque patternings; the edges chamfered and chased in 
an interlaced design. ‘The four arms end on both sides in 
quatrefoil medallions, and a similar quatrefoil medallion occurs 
in the center of the lower arm. These medallions are enameled 
in colors, the upper one on one side with a figure of the Cruci- 
fixion, the lower one with a figure of the Virgin, the remainng 
eight with figures of Apostles and Saints. These quatrefoils 
are further adorned with acorn-like projections enameled in 
rich blue, semé with gold stars, set in calices of wrought gold 
leaves. At the intersection of the arms is a quatrefoil medal- 
lion set with cut rock crystal and designed for the reception 
of a relic. The cross stands on a hexagonal stem of silver, 
molded and chased with a pattern of lozenges, and springing 
from it are two carved arms of silver, decorated with bands 
of colored enamels interrupted by roundels of mother-of-pearl 
framed in silver. These arms support two figures of winged 
angels of silver in flowing garments and with outstretched arms. 
The knop is of a flattened spherical shape, pierced in a pattern 
of flamboyant Gothic tracery, and having, around the center, 
lozenge-shaped facets of chased silver overlaid with translucent 
colored enamel. The base is hexagonally lobed with enameled 
medallions of figures of Saints, the vertical edges being pierced 
in a simple arcaded pattern. 

Height, 25 inches. 

(Illustrated) 


No. 82. Earty Firreentu Century FLorENTINE Cross oF ENAMELED GOLD 
AND SILVER 


fs 


883—THIRTEENTH CENTURY SIENESE GILT CoPpPrpER RELIQUAR 


Rectangular shape, with gable-shaped top on square stem and 
Lr3sgo' quatrefoil foot. The square body is flanked by two square 
G5 buttresses with five courses of pierced Gothic arcadings sepa- 

rated by molded string-courses and surmounted by pointed 

fléches. The pointed gable top is enriched by a crocketed mold- 
ing and surmounted by a cross, the triangular tympanum being 
decorated with a boldly engraved representation of Christ in 

a vesica-shaped nimbus surrounded by cherubim and supported 

by two angels in flowing robes blowing trumpets. At either 

side are chased sprays of vine leaves. ‘The reliquary proper 
consists of four rows of circular medallions, six in each row, and 
one in the upper part of the stem, all covered with plates of 
rock-crystal and containing relics consisting of fragments of 
cloth and so forth. Three horizontal rows of metal plates be- 
tween these medallions are engraved in Roman letterings with 
the names of the saints and descriptions of their relics in Latin. 

The stem is square, with a square knop jeweled on all sides 

with quatrefoil-shaped medallions enameled in colors. On two 

sides of the stem are four square miniatures, engraved and 
enameled, of scenes in the life of St. Francis of Assisi and on 
the other two sides figures of the four Evangelists. 

The quatrefoil foot is of copper, with a molded rim embossed 

round the edge with a border of quatrefoils. ‘The sides of the 

reliquary are engraved in a pattern of quatrefoiled interlace- 
ments and sacred roses. The back is closed by two hinged doors 

on which are painted, by Duccio di Buoninsegna (1280-1340), 

figures of the Virgin and the Angel Gabriel representing the 

Annunciation. 


Height, 25 inches. 
(Illustrated) 


Note: Duccio, painter of the celebrated altarpiece in the Cathedral 
of Siena, who is said to have been born in 1280 and to have died in 1840, 
was the first of the Sienese painters to abandon the Byzantine man- 
ner, though, as evidenced in this instance, traces of its formality and 
conventionalism persisted in his work. 


No. 83. TuirreENTH CENTURY SIENESE GILT CoPpPpER RELIQUARY 


Ac eee fe. Ll 
QA Servet WN’ 


Reclining figure of an old man, with long beard, resting upon 
a rocky base and supporting himself with one arm, the other 
clasping an urn, wreathed with water grasses, the open mouth 
of which is pointing downwards. ‘The figure is an allegorical 
representation of the source of a river. On a bronze base sup- 
ported by four lions’ paws. Exceptionally fine patina. Mod- 
eled by Niccolo Pericoli (Known as II Tribolo). 


Height, 1914 inches. 


Illustrated in Professor Venturi’s Catalogue of the Stroganoff Col- 
lection. 


(Illustrated) 


Note: This striking example of the work of Il Tribolo, pupil of 
Sansovino and fellow-worker with Michael Angelo, was one of the 
most important pieces in the collection of Countess Stroganoff in Rome. 
It was purchased by the present owner in 1912. 


,GOy-waATY VY, “ALLANLVIG AZNOUG NVIIVIT AWIINA) HINAALXIG “FR “ON 


GOST-OOGL :OTONTYT, TT 3g 


* 85—Earty FirreentH Crentury Papuan Bronze INCENSE 


| 


Burner (By Il Riccio) KU exe A7\\) ee 
Made in two portions, a cylindrical body with a spreading base 
resting on three supports and a domed removable cover. The 
cover, which is semi-spherical in shape, is surmounted by a 
seated figure of a bearded Faun (possibly a youthful Pan) 
seated on a marine shell, resting one hand on a bunch of grapes 
and holding out in the other a Pan’s Pipes. Below this figure 
are three Medusa masks having between them festoons of fruits, 
above the centers of which are escallop shells. This hemisphere 
is supported by three mythological monsters with bearded men’s 
faces and winged female bodies terminating in lions’ paws. Be- 
tween these are winged Amorini, with outstretched arms, in 
graceful attitudes of support. The curved rim of the cylindrical 
body is decorated with acanthus leaves, while around the upper 
part of the body itself are three eagles with outstretched wings 
(the arms of the Gonzaga family), their feet resting on three 
festoons of banded laurel leaves, tied with flowing ribbons. Be- 
low the eagles are three Satyrs’ masks with rams’ horns and 
between these three magnificently modeled figures, possibly 
of Marine Deities, standing on somewhat conventionalized wave 
forms. The lower part of the body, separated from the upper 
by a bold fillet, is decorated with festoons of fruits, shells, gTo- 
tesque masks, and eight small arch-shaped apertures through 
which to feed fresh supplies of incense to that burning within. 
The curved spreading base is decorated with an acanthus-leaf 
bordering and rests on the shoulders and uplifted hands of 
three male caryatides having scrolled acanthus-leaf terminations. 
On a modern ebonized wood molded base. 


Height, 23 inches. 
(Illustrated) 


Note: This exquisite specimen of Cinquecento art was fashioned by 
Andrea Briosco, known as II Riccio, when he was at Padua as a co- 
worker with Donatello on the bronze doors of the Church of St. Anthony. 
He was ordered to make it by his patron Gonzaga, the Duke of Mantua, 
and in the possession of the family of the Marquis del Bagno, direct 
descendant of Gonzaga, it finally remained. In 1911, during the cen- 
tenary of Italian Independence, this bronze was shown at the Castello 
of St. Angelo in Rome, where all the noble Italian families sent the 
most precious works of art they owned to be placed on public exhibi- 
tion. By Dr. Bode of the Berlin Museum it was declared to be one 
of the most beautiful Italian Renaissance bronzes known to the world. 
The late J. Pierpont Morgan commissioned Professor Volpi to pur- 
chase it for him, but owing to Mr. Morgan’s death the piece remained 
in its present owner’s hands. 


By It Riccio 


*% No. 85. Earzty Firreentu Century Papuan Bronze INcENsSE BurNER 


UE 


86—SEVENTEENTH CENTURY ITALIAN Bronze Group, “APOLLO 


AND DAPHNE” gee ( a Gers ‘Agiannre 
Apollo seizing the Nymph Daphne, who is changing {nto a 
laurel tree. Sportive Cupids are in attendance on Apollo. On 
a rocky base. Standing on a contemporary square pedestal of 
wood carved in a design of scrolls and cartouches and partially 
gilded. This group is attributed to Giovanni Lorenzo Ber- 
nini (1598-1680), the leading Italian sculptor of his generation. 


Height without pedestal, 21% inches; width, 1358 inches. 


(Illustrated) 


By Bernini: 1598-1680 


No. 86. SEVENTEENTH Century ITALIAN Bronze Group 
“APOLLO AND DAPHNE” 


Pear-shaped fountain with tap, decorated with an oval escut- 
cheon surrounded by scrollings. Domed cover, ending in ball 


finial and two scrolled handles. Circular basin, with turned-over 
rim. 


Height of fountain, 34 imches; height of basin, 141% inches; 
diameter of basin, 31 inches. 


From the collection of Count Bernardini di Lucca. 


SCULPTURES, MOSTLY COLORED, IN STUCCO, TERRA- 
COTTA AND WOOD 


In the Italian colored sculpture of the fifteenth and sixteenth 
centuries the severe influence of the antique played but a small part. 
As instanced by these examples of the compelling art of Ghiberti, Ros- 
sellino, Jacopo della Quercia, to mention but a few of the names, a 
strenuous religious feeling, a naive delight in human character and 
expression, are seen to be the inspiring motives of the great Revival 
of Art we know as the Italian Renaissance. Significant, too, is to 
recognize how slight was the importance attached by these great artists 
to material. Whether they worked in stucco, glazed or painted, in 
terra-cotta or in wood seemed to them but a trifling matter. Their 
end was attained when once they had made a beautiful and a decorative 
thing. 

It is no wonder, then, that of late years these Renaissance sculp- 
tures, of which the Villa Pia and Davanzati Palace Collection together 
forms one of the most noteworthy gatherings in existence, have been 
so eagerly contended for on those rare occasions which render their 
acquisition possible. In the eyes of the collector, indeed, it is the very 
difficulty of finding examples of undoubted authenticity which adds 
so immeasurably to their value. 


ESL. 


SCULPTURE IN WOOD 


88—Two SrxtEentH CenTURY VENETIAN COLORED PaPIER-MACHE | 
STATUETTES (veer CS Per Kf v 

Two figures representing angels. ‘They are seated ote 

> 4 %_ bases decorated with scrolls and are clad in loose tunics elabo- 

ety rately painted in various colors with a design representing em- 

broidery. Their outstretched right legs support the mandolas 

on which they are playing, while their upstretched wings are 

gilded and painted, ‘Their blond curls, falling to their shoulders, 

are of real hair confined by silk and cords. 


Height, 1114 inches; length of base, 9Y%g inches. 
(Illustrated) 


89—FirreentH Century Umprian Carvep COLORED AND GILT 
Woop ALTO-RELIEF (Qo (3 on vi Cau 

-¢  Three-quarter-length figure of the Virgin holding the ee 
Christ, in high relief. She is dressed in a rich vestment of gold 
and red, and on her head is a golden crown from which a white 
veil falls over her shoulders. On her left arm she carries the 
Christ, who is dressed in a short varicolored and gilded tunic. 

On an octagonal molded base. 


<a —a) 
SEZ 


Height, 1784 inches. 
(Illustrated) 


90—SIXTEENTH CENTURY UMBRIAN yy, AND CoLoreD—W ooD 


STATUETTE To trey rrr \» AW) 
Standing figure of the Infant Christ, with curling brown hair, 
ee ie pal the head surmounted by a gilded and painted nimbus. The 


right hand is raised in the act of benediction and the left holds 
an orb surmounted by a cross. 


Height, 211% inches. 


AaITAY-OLTY COOMA LTIX) GNV aauO'lO,) GHAUV() NVIUAIN() AUQLINA) HINGALADT “68 “ON 


SHLLANLY LG AHOVIN-UaAIGV J adauoTtor) NVILANGA A AUVOINA) HLNAGDLXIG OMT, “88 “ON 


i 


88 68 88 


91—Four SEVENTEENTH CENTURY Roman Carved WALNUT 
Woop Pane1s (J. /V~ S oe nA o 
ys Portion of a frieze with two divisions separated by puwtti sup- 
porting pointed shields. The panels are carved in bas-relief with 
scenes of Roman history, including the “Rape of the Sabines”’ 
and the “Building of Rome.’ The wood has, owing to age, 
assumed a beautiful bronze-like patina. 


Height, each, 11 inches; length, 30 inches. 


92—-SIXTEENTH CENTURY SIENESE CARVED PAINTED AND GILDED 
Woop Busr (o. Vy - oh 


Bust of a young woman, with thick curling hair, dressed in a 

357 “loose robe with twisted collar. The dress is completely gilded, 
the face and the hair naturalistically colored. 'The molded 
shaped base is of gilded wood. 


Height, 1914 inches. 
(Illustrated) 


93—Two FourTEENTH CENTURY FLORENTINE COLORED AND GILT 


Woop StTaTuErres Ce: Oo rp we 


These figures represent two angels dressed in flowing blue man- 

tles decorated with Florentine lilies in gold and lined with red. 
Jo 0 The angels hold candlesticks in their hands and above their 
heads are golden nimbi. 


Height, 31144 mches. 
(Illustrated) 


SALLANOLVLIG dO0 MA LT) Inv adauo'to’) ANILNAYOT AUNMLNGT) HLINGALENOD OMT, ‘6 “ON 


LSAgG COOMA aaaTixy GNV Ga.LNIiv q Ga AUV’) AFSANGAIG AWNING) HINGALXI§—ZG “ON 


£6 G6 £6 


94—Firrerrun Century VERonESE Patntep Woop we } 
} AA 


(By Antonio Rizzo) 1) I Ala DT RGAm Gan 
Figure of St. Sebastian, nude save for a loin-cloth, standing 
erect with his arms tied behind him, his face upturned and ex- 
pressing the agonies of the martyrdom he is suffering. (St. 
Sebastian was shot to death with arrows.) Naturalistically 


painted. On square base. 
Height, 5 feet 1014 wches. 


(Illustrated) 


Note: This statue, exceptionally well preserved, is accounted one of 
the masterpieces of Rizzo, who was the sculptor of the famous Adam 
and Eve which forms a main decoration of the Giant’s Stairway in the 
Court of the Ducal Palace in Venice. 


SCULPTURES IN STUCCO 


95—SEVENTEENTH CENTURY IraLIAN. PoLycHROME STUCCO 
STATUETTE q Pee 

: . NLA KY VI ARAL 

Figure of a sleeping Cupid, lying upon drapery, his head rest- 

ing upon the bent left arm and upon his quiver. By his side 

lies his bow. The Cupid is painted in naturalistic colors, the 
drapery in blue. 

Height, 1014 inches; length, 201% inches. 


96—FIrtEENTH CENTURY FLORENTINE PAINTED Stucco ALTO- 

RELIEF ae / -- ae 
The figure represents the Virgin, dressed in a red robe and 
with a blue mantle enveloping her head, holding the Infant 
Christ, who is clothed in a red tunic. The faces are naturalisti- 
cally painted. On a molded base the corners of which are 
painted with a Medici coat-of-arms. On the base is the inscrip- 
tion in Roman lettering, “AVE : MARIA.” 


i, e 


Height, 2514 inches; width, 18 inches. 


By Antonio R1zzo 


No. 94. Firreentu Cenrury VErRonEsE Paintep Woop STaTruEtTtTEe 


97— FIFTEENTH CENTURY ITALIAN UNCOLORED Stucco BAS-RELIEF 


(School of Donatello: 1388-1466) (0/7, (9 orn 
Half-length figure of the Virgin, her head seen in profile, her 
hands raised and joined in the act of adoration before the nude 
Infant Christ, who is seated on a chair and lifts His right hand 
in benediction. Arch-shaped and framed in a molded, painted 
and gilded wood panel, the moldings of which are enriched with 
an egg-and-dart ornamentation. 


Height, 8214 inches; width, 26 inches. 


98—FirreentH Crnrury FLorENTINE CoLorep Strucco_ Bas- 
RELIEF (By Antonio Rossellino: 1427-1490) V/. (3 MSZ ten - ihe ee 
TA a Circular shape. Three-quarter figure of the Virgin, seated and [ : 
eo 20 ~~ holding in her lap with her left arm the Infant Christ, whose 
movements she restrains with her right hand. The Virgin is 
dressed in a girdled robe, the Christ is nude. Both figures are 
uncolored save that the haloes, the Virgin’s girdle and the cuffs 
of her tight-fitting sleeves are gilded. The background is 
painted blue. In an old carved and painted frame. 


Diameter of relief, 274% inches; with frame, 38 inches. 


Note: This exquisite stucco by Rossellino, who was the most noted 
pupil of Donatello, is exceptionally interesting. 


-~ y) 
We (Ss CO tpnfitpe 
99—FivreentH CENTURY FLORENTINE STUCCO Bas-RELIEF (By 
Benedetto da Maiano: 1442-1498) 

_,« . Half-length figure of the Madonna, seated, her head and shoul- 
ders draped with a long mantle, holding with her left arm the 
nude Infant Christ, who fingers with His left hand a necklace 
around His neck and raises His right in benediction. The figure 
is surrounded by six cherubim. Uncolored. 

fp Diameter, 31 inches. 
VV O ranrrwr 
100—F rrtrENTH CENTURY FLORENTINE POLYCHROME AND ma | 
Stucco Bas-revieF (By Donatello: 1383-1466) 


Half figure, in an arched recess, of the Virgin holding with her 
right arm the Infant Christ, who is seated on a pillow support- 
ing Himself on His left hand and raising His right hand in 
benediction. The Virgin is dressed in a dark gray mantle with 
gold bordering and fringe which is drawn over her head and falls 
down over her shoulder and body, the right arm clad in a tight- 
fitting sleeve of red emerging from the fold, to support the 
Child. The cushion on which the latter reclines is of red with 
a gold and red tassel. Both figures have gilded haloes in flat 
relief and the background is gilded. The painted and gilded 
tabernacle-like frame surrounding this panel is flanked by two 
Corinthian fluted and astragalled pilasters, the frieze above be- 
ing painted with cherubim with red wings separated by dark 
festoons of laurel leaves. Above are a molded cornice and a 
pediment, the tympanum of which is occupied by a painted Dove 
emblematic of the Holy Ghost. In the angles above the arch 
are cherubim, with red wings on a blue ground and with blue 
wings on a red ground respectively. The pedestal of the base 
is painted with an inscription in Roman letters, AVE : MARIA : 
GRAXIA : PLENA : DOMINUS : flanked on either side by a painted 
coat-of-arms. The base is molded. 


Height, 5 feet; width, 3 feet 1 inch. 
(Illustrated) 


Note: Donato de’ Bardi, known as Donatello, introduced and carried 
to perfection the “new manner” of sculpture which followed the medieval 
Christian art which had culminated in Ghiberti. Easily the foremost 
sculptor of his time, he introduced the peculiar method of low or flat relief 
with which his name is connected. Of this method the present piece is 
a most noteworthy example. The marble replica at the Victoria and 
Albert Museum in London is called “La Madonna della Rosa” (The 
Madonna of the Rose). 


By Downatevto: 1383-1466 


No. 100. Frereentu Century Fiorentine PoLtycHroMe anv Git Stucco 
Bas-RELIEF 


SCULPTURE IN TERRA-COTTA 


A : \ 

IVAA24 Y, (3 
101—E1cuHTEENTH CrenTURY FRENCH Trrra-corra Portrait Bust 
Portrait, in uncolored terra-cotta, of a lady of the Court of 
Ge Louis XVI. Her piquant face is turned over her right shoulder 
and is surmounted by her own hair plaited and looped behind, 
breaking into small curls on her forehead and over her ears 
and surrounded by a wreath of flowers and leaves. She is 
dressed in a loose robe covering the shoulders and exposing a 
lace chemisette at the neck. On a circular pedestal. (Repaired.) 


Height, 25 inches. 


TN Prrderifk 
102— EIGHTEENTH CENTURY I'RENCH TERRA-coTTA Portrait Bust 
Portrait, in uncolored terra-cotta, of a French Avocat of the 
_,, eighteenth century. The clean-shaven alert face has the mouth 
pe slightly opened, and the thick curling hair is confined by a close- 
fitting skull cap. He is dressed in a robe gathered in to the 
neck and exposing a falling lace cravat. On a circular base. 


(Repaired. ) 
Height, 25 inches. 


Virre YL Ana 


103— EIGHTEENTH CENTURY FRENCH TERRA-COTTA PorTRAIT Bust 


Portrait, in uncolored terra-cotta, of a French nobleman of the 
eighteenth century. His unshaven face, full of intelligence and 
character, looks slightly upward. He wears a curling peruke 
falling down to his shoulders and a loosely gathered robe with a 
carelessly tied neckcloth. On a circular base. (Repaired.) 


Height, 25 inches 


Give: (2 Yih gern 


104— EIGHTEENTH CENTURY FRENCH TERRA-COTTA PORTRAIT (Bust 


Portrait, in uncolored terra-cotta, of a French divine of the eigh- 
teenth century. His somewhat fleshy but intellectual face, with 
its full, determined lips, resembles that of Bossuet whom the 
bust is, not improbably, intended to represent. He wears a 
curled wig, a cassock pleated over the shoulders and two wide 
ecclesiastical “bands.” (Repaired.) Ona circular base. 


Height, 25 inches. 


oo 


- 


105—SIXTEENTH CENTURY ITALIAN 'TERRA- TA Bust 


Half-length bust of Jacopo Sansovino, the sculptor. He is 
shown in a red cap with side brim and central rib, and a yellow 
mantle. In his right hand he holds a square and pair of com- 
passes. Naturalistically colored. On a molded base of gilt 


wood. 
Height with base, 26 inches. 


106—SIXTEENTH CENTURY TUSCAN POLYCHROME ees COTTA 


ay. ek | 
Bust VW ALO TIL we , 


Bust of a bishop in a black round and! aeane cap and a black 
robe edged with red and an ecclesiastical stiff collar of white, 
naturalistically colored. On a molded and gilt wood base. 'This 
bust is attributed to Cieco da Gambasi, a Tuscan sculptor of 
the sixteenth century. 

Height with base, 23 inches. 


107—T wo SIXTEENTH CENTURY pene ete TTERRA-COTTA STATU- 


Baie 6 VAAheLA_ 

a77-7 ‘{ Figures of two kneeling anger with open wings, dressed in 
flowing robes and holding in their hands vases, decorated with 
shields in low relief, for the reception of candlesticks. Painted 
in natural colors. 


Height, 29 3/5 inches. 


108—F ourRTEENTH CENTURY UmprRIAN PoLY CHROME "TERRA-COTTA 
; Busr Qi (OLA 
/3s (¢ °“— Half-length bust, in colored terra- tone. of a woman dressed 
in a red robe with a dark green mantle lined with white. Painted 
in natural colors. 
Height with base, 23 inches. 


109 110 


\ <& 
oe Lp" _ 


109—SIxTEENTH CENTURY FRENCH TERRA-COTTA race 

A full-length female figure typifying Strength. She is dressed 
in a classic peplum, her face turned over her left shoulder so 
as to show in profile. Square base. ‘Tinted in a dark color 
showing a lighter ground beneath. 


ett). — 


Height, 391/ ench, es. 


nh (3. Popnrfoe an 
110—SIxTEENTH CENTURY FRENCH 'TERRA-COTTA Sees q 


Full-length female figure dressed in a peplum looped up at the 
a waist with a girdle, and typifying “Wisdom.” She reads from 

an open book which she supports with both hands. Square 

base. Tinted in a dark color showing a lighter ground beneath. 


Height, 391, inches. 


Met TS : 
Wuras Ve-©. ze Qgent 
111—Firreentu Century FLORENTINE PoLYCHROME 'TERRA-COTTA ( 
Fieure (By Nanni di Banco: 1388-1420) 

y °+ Life-sized half-figure of the Virgin seated and facing the spec- 
tator. She holds with her left hand the Child Christ, who stands 
at her side and in her right hand she carries a fruit. She is 
habited in a red robe with a blue mantle draping her head and 
falling over her arm and shoulder so that it covers the head 
and body of the Child. 

Height, 821% inches; width, 20 inches. 


(Illustrated) 


By Nanni pt Banco: 1888-1420 


No. 111. FirreentH Century FLorentTInE PoLyYCHROME TERRA-COTTA 
Ficure£ 


112—SixTreNtH CentTuRY ITALIAN TERRA-coTTA BAS-RELIEF (By 
Giovanni Bologna: 1525-1608) 20 (3 ree Ge, 
o ha / 0 °* Rectangular shape. A subject, in uncolored terra-cotta, of the 
Annunciation. The Virgin stands on the right, her left hand 
pressed to her bosom, and listens to the message of the Angel, 
who, with open wings, kneels in front of her, to the left, his 
right hand raised in salutation. 'To the right of the Virgin are 
a bed hung with looped-up drapery and a prie-dieu on which 
is an open book. Above, the Dove, emblem of the Holy Ghost. 
In the background is a balustraded open window through which 

are seen a street and a church. 


Height, 30 inches; width, 88 inches. 


Note: This and the succeeding subject, “The Miracle of St. Nicola,” 
are of the greatest interest, as the work of one of the most notable of 
sixteenth century Italian sculptors, chiefly known to us by his sur- 
passing work in bronze. They give evidence of Gian Bologna’s un- 
rivaled treatment of bas-relief. 


Giovanni Bologna: 1525-1608) V-V):- F carrarce 


118—S1IxTEENTH CENTURY ITALIAN T'ERRA-COTTA See (By 


is OO — 


gl — 


Rectangular shape. A subject, in uncolored terra-cotta, of the ( 


“Miracle of St. Nicola of Bari.” A brick wall in section divides 
the bas-relief into two unequal portions. On the right is shown 
the interior of a poverty-stricken room, whose occupants, three 
women and a man, are seated on rough bases in attitudes expres- 
sive of their hunger and exhaustion. At the rear is a bed, at the 
side of which a young girl sits, leaning her shoulders against 
it as though for support. To the left a bearded man rests his 
head on one hand. On the left of the wall is shown a street 
with the saint, dressed in a tight-fitting tunic and a flowing 
mantle, who throws into the room, through an open aperture 
in the wall, small round loaves of bread. 


Height, 30 inches; width, 38 inches. 


Fn) 
f 


VV Seaman Se 
oe 


114—SIxTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 


ERNACLE (By Giovanni della Robbia: XVIrH CEnTuRY) 


Tabernacle in the form of a classic wall tablet. The rectangular 
central tablet is flanked by two pilasters with acanthus-leaf capi- 
tals, molded bases and shafts decorated with vases from which 
spring boldly modeled fruits and flowers. Above is a frieze 
decorated with four cherubim heads separated by festoons of 
fruits, and a molded cornice ornamented with egg and tongue 
and acanthus-leaf enrichments. Above this again is a semicir- 
cular pediment with a rosetted outer member enclosing a shell. 
In the center is a chalice, glazed in yellow, on which stands an 
Infant Christ, holding a wreath and with His right hand in 
benediction, flanked by two putti. Below is a molded cornice 
with acanthus-leaf and egg and dart enrichments, a pedestal 
with the inscription: HIC EST PANIS VIVUS QUI DE CELO DESCENDIT 
(This is the living bread which came down from Heaven) : on 
either side of a cherub in relief. Beneath this is an imbricated 
base and a semicircular apron formed by two cornucopiz with 
rosetted terminations enclosing a wreath of laurel leaves occu- 
pied by an escutcheon bearing a coat-of-arms. In the center is 
the hinged door of the Tabernacle of wood, painted, gilded and 
carved in relief with the figure of the Archangel Michael with 
his foot upon a prostrate Satan. On either side of the door 
is an angel of glazed terra-cotta in a blue robe holding flowers. 
The door frame, also of glazed terra-cotta, is of egg and dart 
molding and above is a line of quatrefoils. All glazed in vivid 
natural colors. 

Height, 6 feet 21% inches; width, 3 feet. 


(Illustrated) 


Note: Though Luca, who first applied a stanniferous colored glaze 
to terra-cotta, is of course the best known member of the Della Robbia 
family, others, and in particular Giovanni, the son of Luca’s nephew 
Andrea, closely approached him in artistic imagination and technical 
skill. This unusually important, elaborate, but typical, example testi- 
fies indeed to Giovanni’s admirable sense of color and notable skill as 
a sculptor. 


RRR ros ae AA A 


O2F HICESTPANIS — 
WMCELO DE 


x 
a Sa hy yn ngs 


By GtovANNI DELLA RossBia 


No. 114—SixTEENTH CENTURY FLORENTINE GLAZED TERRA-COTTA 
TABERNACLE 


Ue 


OO Gs 


SIXTEENTH CENTURY FLORENTINE GLAZED 'TERRA-COTTA 
ALTO-RELIEF (By Giovanni della _Robbia: XVItTH 
CENTURY) (Zeer e pure —K& 

Bust of a young woman with flowing hair, modeled in high /re- 
lief, and glazed in white with the eyeballs painted. The back- 
ground, which is in two sections, is glazed in blue and the whole 
is surrounded with a circular wreath, bound with ribbons of well- 
modeled flowers and fruits, with frogs, in high relief, and glazed 
in their natural colors. 


Diameter, 88 inches. 


Cer, Half-figure of the Virgin, holding in her left arm the Infant / 
rise Christ. The Virgin, who has dark flowing hair, is clad in a 


116—FirreentH Crnrury FLorentine Giazep 'TERRA-cOrTA. 
(Modeled by Antonio EIAs 1427-1490; glazed by 
Luca della Robbia: 1400-1481) (9/77 (4 


Cas No) Kr nut t_gne 


20. The Virgin seated on a bench supporting on her lap the Infant 
Christ, both having haloes; on either sides are supporting cheru- 
bim. The background is almond-shaped and, with the group, 
is supported by a bracket formed of a cherub with four wings. 
The figures of the Virgin and her son and the cherubim are 

_ glazed in white, the background in blue. 


Height, 25 inches; width, 15 inches. 


Note: his exquisite example is a smaller version of, probably a pre- 
liminary study for, the much larger group modeled by Rossellino and 
now to be seen at the Church of Santa Croce, Florence. 


117—V'trrrentH Century BoLoGNesr Lig ges aes TERRA-COT TA 


ALTO-RELIEF LLY Ww (Onnnecc+ Ag 


Vv 


red robe edged with gold and confined by a blue girdle and a 

flowing blue mantle which envelops her head. The Child is in 

a white-linen tunic and holds in one hand a bird. The bracket- 

like base is formed of three cherubim, one in the center and one 
at either side. 

Height, 31% inches; width, 2114 inches. 

Note: This interesting work is by an anonymous fourteenth century 


Bolognese master and is referred to by Dr. Bode in his “Die Italienische 
Plastik,” p. 126. 


a) 


118—F irreentH Crentury Trauian Marsie Mortar 

Small coupe-shaped mortar, with four projections around the 
rim, one of which is grooved to form a spout. The sides are 
decorated with two coats-of-arms in low relief. 


Height, 2% inches; diameter, 5 inches. 


Vis 


f) 11) a 
Ve FUE. STL AAAACL ie 7 


Se a oe 


SCULPTURE IN MARBLE 
(UM (3 rt Cg 
119—FourtEenNtTH CrntTuRY Tuscan Marsie I*IiGURE OF (THE 
VirciIn (By Nino Pisano: ‘—1368) 

-) ’£—'The Madonna, dressed in a sweeping mantle which covers her 
head and falls in a succession of graceful folds to the floor, sup- 
ports on her left arm the Infant Christ, who is also draped in 
a robe of lighter texture. In her left hand she holds a bunch 
of flowers towards which the Christ stretches out His right hand. 
The faces of both Mother and Child are full of an austere senti- 
ment. 'The figures stand on a circular base. The group is sup- 
ported on a cylindrical pedestal of carved gilt and painted wood 
of sixteenth century workmanship. Around a cylindrical drum 
are disposed six columns with Corinthian capitals, plain shafts 
and molded bases. Between each pair is an arcaded niche, the 
round arch supported on a Doric pilaster. Five of these niches 
are occupied with painted figures of Saints. The pedestal has a 
molded circular base. 

Height of figure, 24 inches. 


(Illustrated) 


Note: Nino Pisano, the date of whose birth is uncertain but who died 
about 1368, was the son of Andrea Pisano, pupil, but no relative, of 
Giovanni, the son of Nicola Pisano, who was the earliest known of 
Italian medieval sculptors. The work of the Pisani school formed 
by these men is, throughout the four generations, marked by its rela- 
tionship to the works of ancient Greece and Rome. With Nino Pisani 
this spirit temporarily disappeared from Italian sculpture. 


By Nino Pisano: ?—1868 


No. 119. FourTEENTH Century Tuscan Marsie Ficurr oF THE VIRGIN 


120—SIxTEENTH CENTURY ITALIAN Maca y Cig 


vannt da Nola: XVIra Century) 


c ‘Figure of a nude winged Cupid seated upon a block of marble 


resting upon a square base with his right hand upon a reversed 
lighted torch; on this also rests his left elbow, the hand sup- 
porting his head. The face, with half-closed eyes, is marked by 


an expression of deep sorrow. 
Height, 2 feet 5 inches. 


6. Ex 
Me he CO MAAREVML A 


121—SIXTEENTH CENTURY Roman MARBLE BASE 


Rectangular shape. Formed in white and colored marbles of an 
oblong panel, supported by volutes and occupied by a subject of 
“Abraham Restrained by an Angel from Sacrificing Isaac.” 
This tablet is flanked by two figures, one of David, the other 
of Moses, the latter holding the “tablets of the Law.” Under- 
neath are the names in Roman lettering. At the back of each 
figure is a column enveloped in acanthus leaves. 


Height, 34 2/5 inches; width, 15 1/5 inches. 


ORVIETO AND PRIMITIVE MAJOLICA AND FAENZA 
| POTTERY. Wee oat 
Nackphar "Varn 
122—FourTEENTH CrenTURY Orvieto Primitive Masorica Bow. 
_ ,._ Coupe-shaped with flat rim. Decorated, on a white ground, in 
green and brown, the rim with radiating lines in alternate colors, 
the interior with a knotted strap design on a hatched ground, 
and the exterior with a band of diagonal lines. 

_ Diameter, BY inches. 

Mr.A-# 
123—FourTEENTH CENTURY OrviETO PrimitivE Masoxica Bow. 
ae Circular shape. Decorated, on a white ground, in green and 
‘-~ ——" manganese, the interior with a coat-of-arms having a green 
field, a bend of white and two Florentine lilies, on a hatched 
ground; the exterior, with a border of scrolled design. (Re- 


paired. ) Diameter, 434 inches. 


124—PairR OF SIXTEENTH CENTURY ITALIAN MasoLticaA PHARMACY 


VASES GY - AF : 
Saas Pear-shaped bodies, with cylindrical necks/' Glazed in light blue, 
ale decorated with branches of yellow flowers and green leaves, 


outlined in brown and with scrolled labels of blue and yellow 

inscribed with the names of the contents. Above these, emblems 

of St. Francis (clasped hands and cross). Height, 1342 Peahog 
Vynrr~ C ' . Lag a tL 

125—FourtTEENTH CENTURY OrviIETO PrimitTivE Masonica Bown 

ae Coupe-shaped, with boldly scalloped rim and two looped handles. 

= Decorated, on a white ground, as to the interior, with a knot 


eae Sire 
~ design in green and brown. (Repaired.) —_pjameter, 434 inches. 


W/ | v4) 
126—FirreentH Century ITALIAN mM eitde Bows 
Circular shape. Decorated, on a white ground, with a Gothic 
letter “HZ” in green, outlined in brown, and a border of groups 


oom of lines alternating in green and brown. Diameteran ee 


6. 5 
V1 XN 
127—_F IrTEENTH Crentury ItTat1an Masoutica VASE Pa 
Pear-shaped body, with two looped handles. Glazed with white | 
and decorated with the coat-of-arms of the Piccolomini family of 
Siena, surrounded by a floral wreath. Height, 53/, inches. 


— 


io) e0 
/ 


ff 


h\ f ) 
| “1 , ohne 
Tr Ud Kraimn Mant 
128—FirreENtTH CENTURY FarenzaA Masorica Bow. 
Circular shape, with flat rim. Decorated, on a white ground, in 


/ f ot ____ blue, orange and green, the border with spirals, figures and 


rays, the interior with a coat-of-arms of a field of dark blue with - 
a green bend, and the exterior with alternating scrolls of orange 
and dark blue. 
Diameter, 64% inches. | 
a | 
BEM II Ming whey 
129—F irtrentH CENTURY F'AENZA Ware VASE 
Ta Pear-shaped body, with two looped handles. Glazed in white 
and decorated in yellow and blue with two heads of women in 
low relief. 


G 


Height, 6°4 inches. 


130—THIRTEENTH CENTURY OrvIETO PRIMITIVE._MagonicaA ALBA- 
RELLO GU~ Vomenre 
— .« Cylindrical shape, with incurved sides. Décorated, on a white 
ies ground, with an all-over patterning of scrolls in dark brown 
with campanula flowers in green, and with an imbricated border 
in brown around the neck. (Repaired.) 
_ Height, 7 inches. 
m0. Menrtaerer 
131— FIFTEENTH CENTURY FAENZA WarE PITCHER 
Pear-shaped body, with spout and looped handle. Decorated 
—4s “ with a winged lion. 
Height, 7 inches. 
132—Two SrxTEENtH CENTURY ITALIAN Masonica ALBARELLI 
Cylindrical shape. Decorated, on a white ground, in green and 
3 manganese, with vertical bands of vine-leaves and with an oval 
shield with a white fesse on a blue field and yellow lilies. 


Height, 7 inches. 


A - Lae UO? 
133—SIXTEENTH CENTURY ITALIAN Magsoxica ALBARELLO 


OZ ¢¢_ Cylindrical shape. Decorated, on a white ground, in green 
and manganese, with vertical bands of vine-leaves, with an oval 
shield bended with a white fesse on a blue field and with yellow 
lilies. 


Height, 7 inches, 


y 
YVn- Q -Veaaaee 
134—THIRTEENTH CENTURY PRIMITIVE Orvirro Warr PITCHER 
Pear-shaped body, with looped handle. Decorated with the let- 
¢’ ter O in Gothic text, surrounded by arabesques. 


Height, 7 7/10 inches. 


A 
/ 


amy if, xe Bs st ner 
NA or io ry —< XK S2, 
135—Two SIxTEENtTH CENTURY CasTEL DURANTE WarE VASES 


Albarello-shaped pharmacy vases, decorated with the names of 
, » ¢« the drugs in Gothic lettermg and with coats-of-arms, and mili- 
“ tary trophies enclosed in garlands of fruits and flowers. 


Height, 7% inches. 


136—Two SrxTEentH Century Caste. DuRANTE Ware VASES 


vg “ Similar to the preceding. 
} Wn | 6 ¢- Y 
: GO 
187—Two SrixTeentH CrenTuRY CasTEL Durante Ware VASES 
Albarello-shaped pharmacy vases, decorated with the names of 


~ 0 “— the drugs in Gothic lettering and with coats-of-arms, and mili- 
tary trophies enclosed in garlands of fruits and flowers. 


Height, 7% inches. 


V1: Ge 


138—Two SrxTrEENtTH CENTURY CasTEL Durante Ware VASES 


_,« Sumnilar to the preceding. 
/ LO y 
Vit: O -Vigtaaee 


139—Two SrtxTrENTH CrenTuRY Caste, Durante Ware Vases 


Albarello-shaped pharmacy vases, decorated with the names of 
the drugs in Gothic lettering and with coats-of-arms, and mili- 
/( ¢ ‘— tary trophies enclosed in garlands of fruits and flowers. 


Height, 7Vg inches. 


140—Two SrxTEentH CENTURY CASTEL Durante Ware VASES 
Similar to the preceding. 


6. 7 eee 
AV U 


if /) 


141—Earty SixTeeENtH CENTURY Deruta LustrEp Ware VASE 
Spherical body, with circular foot and two handles. Decorated 
in yellow lustre on a white ground. | 

Height, 74g inches. 


7? 


fy 
“ THe glreucr“iyg 
142—SIXTEENTH CENTURY FAENZA WarRE PITCHER (Ca 


Pear-shaped body, with spout and looped handle. Decorated 


[ ¢ *{ with an inscription in Roman lettering; above is an angel’s head 
and below a coat-of-arms of a cross on yellow ground. 
Height, 7% inches. 
eS 
ae if re 
143—SrxTrENtTH CENTURY FaEnNzA MasonicA PHARMACY VASE 
“pa Pear-shaped body, with cylindrical neck, projecting spout and 
yn) . 
/ 0 — looped handle. Decorated, on a gray ground, in blue and orange, 


with a scrolled patterning and, under an arrow-pierced heart, 
a label inscribed, in Roman lettering, “Melle Rosata.” 


Height, 77 inches. 
(\ 

144—Sixreenta Century Farnza Masorica Patarmacy VasE 
Pear-shaped body, with flat looped handle and projecting spout. 
a ee “© Decorated, on a white ground, with a trefoil-shaped orange- 
bordered medallion occupied by the statant figure of a collared 
dog in a landscape, and with scrollings of pointed leaves in 
dark and light blue, green and orange, on a ground diapered with 

light blue scrollings. 
Height, 77. inches. 


145—Patir oF Firreentu Century CaraccioLo Masonica ALBA-, 
wot 2 ieee Ole 

7 oe Cylindrical shape. Decorated, on a white ground, in dark blue, 
with scrolled branches of dark blue flowers with varicolored eyes 

and with the names of the contents in Gothic lettering of dark 


blue. 
Height, 7% inches. 


I om 
tine poh MAee ss f 
KW le rel AUFerrt- 


146—Two SrxTEENTH CENTURY GLAZED AND COLORED TERRA- 
coTTA BasKETs OF FRUIT 
36 ¢ ‘— Circular baskets, with pierced sides, filled with fruits and flowers 
colored naturalistically in the style of the Della Robbias. 


Height, 634 inches; diameter, 85 inches. 


iy Oy - Mee 


147— FIFTEENTH CENTURY ORVIETO WarRE PITCHER 


Pear-shaped body, with looped handle. Decorated with hori- 
/ ve zontal bands of white palmettes on a green ground. 


YH y 
. Height, 81/4, inches. 
OTE O aryeet Be 
148—SIXTEENTH CENTURY FLORENTINE Masotica DEEP PL 
Circular shape, with flat rim. Decorated, on a white meee 
yl jl oo the rim with a border of lozenge-shaped medallions of yellow 


C enclosed in almond-shaped scrollings of blue, and the center 
with a checkered pattern of small green and manganese squares. 
(Repaired. ) 


Diameter, 8 inches. 


24- S 
149—FourTEENTH CENTURY ORVIETO Primitive Masorica FLASK 


Shaped as a leathern wallet with buckled strap, two loops for 
3 5 ’£—— suspension, and cylindrical spout. Decorated, on a white 
ground, in green and manganese, with two Florentine lilies on 
one side; on the other, with two archaic birds, and at the corners 
with rosettes with hatched centers. | 
Height, 814, inches. 


¥ ae” 
way: 9 Dire Ke 
150—Pair oF SIXTEENTH CENTURY Farnza Magorica ALBARELLI 


| i. Cylindrical shape, with incurved sides. Decorated, on a white 
pag ao ground, in blue, with a patterning of geometrical interlacements 
and a laurel wreath enclosing a coat-of-arms of a demi-lion on 

a demi-wheel in yellow on a blue field. 
Height, 834 inches. 


151—Firreentu Century F'arnza Wark TAponna AND CHILD 
The Madonna, in a blue robe and a mantle lined with yellow, is 
we seated on a bench of dark yellow with a decoration of black 
— lines. She holds on her lap with her left arm around Him the 
Infant Christ, who is dressed in a purple tunic and clasps a bird, 
colored light blue, in His hands. Both Madonna and Child have 
yellow hair, and the Madonna has a painted and gilded wooden 
halo. The square wood base has a molded sunk panel in front 
occupied by a Cherub in relief, and having as supporters on 
either side kneeling winged angels in flowing robes with up- 
turned faces. 
Height of figure, 22 inches; height of base, 5Y. inches. 


Note: This admirable example of early Faenza ware has been re- 
ferred to by Dr. Bode, in his “Die Italienische Plastik,” as “very inter- 
esting and rare, and undoubtedly the work of a good master.” 


* pe 


Bay 


ard Wark Qe 


152—F irrrentH Century Farmnza WARE PLAQUE 


S99 ¢— 


Rectangular shape. Decorated in low relief, glazed and colored, 
with a subject of “The Annunciation.” In the center the 
Virgin, clothed in a flowing blue mantle, haloed and standing, 
reads the pages of a missal as she listens to the message of the 
winged angel, who kneels before her, his right arm uplifted and 
clasping a lily with the left. Above, the Holy Spirit in the 
shape of a dove encircled by a nimbus, ascends. The background 
is a Romanesque arch with alternating voussoirs of light and 
dark, the spandrels being filled with floriated ornamentations. 


Height, 12 inches; width, 8 inches. 


153—F wreentoH Century FaenzA Ware PitaQquE 


Rectangular shape. Decorated in low relief, glazed and 
colored, with a subject of the “Visitation to the Virgin.” In 
the center of the plaque St. Elizabeth, with outstretched hands, 
greets the Virgin, who holds one hand to her bosom. Both are 
dressed in flowing robes and have haloes. On the left is a maid- 
servant bearing on her head a basket. The background is of a 
triple arch, the center one surmounted by a trefoil, supported on 
Corinthian columns, with the spandrels decorated with a dia- 


pered pattern. 
Height, 1584 inches; width, 19 7/10 inches. 


154—SIXTEENTH CENTURY CAFAGGIOLO MasoLicaA PLAQUE 


Rectangular shape. Decorated, in relief, with a subject of “The 
Annunciation.” The Virgin, in a blue mantle lined with green, 
is seated at a prie-dieu on the right-hand side, listening to the 
winged Angel, who, dressed in a yellow robe, and bearing a 
lily, delivers his message. The background, of an architectural 
character, is colored in blue. Bordered by a band of floral scroll- 
ings in dark yellow on a dark blue ground, with square masks 


- at the angles and an oval mask in the center colored in blue. 


Height, 9 inches; length, 11% inches. 


A 
VS) 


tas A lat an 


ed 


155—Pair or SIXTEENTH CENTURY FAaENzA MagsgoricA ALBARELLI 


Cylindrical shape, with incurved sides. Decorated, on a white 
ath ground, in blue, with a patterning of geometrical interlacements 
and a laurel wreath enclosing a coat-of-arms of a demi-lion on 
a demi-wheel in yellow on a blue field. 
Height, 9 inches. 


va) 


Ate. Warigeg ihe 

156— FIFTEENTH CENTURY F'AENZA Masoica ALBARELLO , 
Cylindrical shape. Decorated on a cream-colored ground, in 
ea aia green, with a geometrical and leaf patterning surrounding a 
shield party, blue and manganese, with a rampant lion in yellow. 


Height, 834 inches. 


UT - SCE are 
157—SIXTEENTH CENTURY FLORENTINE Magsorica PLATE 
Circular shape, with flat rim. Decorated, ona white ground, 
in dark blue and yellow, the rim with a pattern of white scroll- 
c y s*___ ings on a blue ground bordered by yellow, the interior with the 
coat-of-arms of Pope Leo X of the Medici family. 


Diameter, 8 2/5 inches. 


a ela a 


158—FIrTEENTH CENTURY CAFAGGIOLO MasonticA ALBARELLO 
Cylindrical shape, with incurved sides. Decorated, on a gray 


eee crackled ground, in yellow and blue, with a wreath of fruit 
/ and pointed leaves enclosing a shaped shield with a coat-of-arms 
consisting of a fesse with three rosettes. 

Height, 9 inches. 

f ff ~ o (> 

UX Crrrel 
159—SIxTEENTH CENTURY FaENzA MasoricA ALBARELLO : 
— ¢ Cylindrical shape. Decorated, on a gray crackled ground, in 
¢ ¢ ~~ dark blue, with a diapered pattern of large scrollings and 


flowers. 
Height, 9 2/5 inches. 


gp Naps om 
Moo ND 
DO” AEWA 


160—SrixtreEentH Century Iratian Magorica PLATE 
Circular shape, with wide flat rim. Decorated on a dark blue 
ground, the rim with an arabesque patterning in shaded light 
Lc) °£— )lue, the center with a shield surmounted by a lily and occupied 
with the arms of the Rondinini family of Florence in orange, 


yellow and blue. (Repaired.) 
Diameter, 914 inches. 


y /™ 

ae 

AAG \) at got 
161—SIXTEENTH CENTURY ITALIAN MAJOLICA PATE 


Circular shape, with wide flat rim. Decorated, on a die blue 
eae ground, the rim with an arabesque patterning in shaded light 
blue, the center with a shield surmounted by a lily and occupied 
with the arms of the Rondinini family of Florence in orange, 


yellow and blue. 
Diameter, 91/4 inches. 


16 HS SSS Century Iranian Grazup 'Trerra-corra “Bovu- 
al J A 
QUET”’ kee 
A group of fruits and flowers, with a snail naturalistically glazed 
| Ret is 
A 7 ‘4 — in colors and arranged in a circular holder with a cylindrical 


unglazed stem originally built into a wall. 
Diameter, 9 2/5 inches. 


l per ip 
Crom Serre (Chaer ve 
163—SIXTEENTH CENTURY VENETIAN Masotica Ewer AND-STAND 
Amphora-shaped ewer, with handle and circular stand.\ Deco- 
rated on a solid ground of light blue, with scrollings in yellow, 


the stand with a coat-of-arms surrounded by scrollings in yellow. 


Height of ewer, 6%/4 inches; diameter of stand, 914 inches. 


164—SIxTEENTH CENTURY ITALIAN GLAZED , Trerra-corra Basket 


witH F RvuITs ( i eran 
Circular basket, with pierced sides. Filled with various fruits 
5, «¢_ naturalistically colored. Glazed terra-cotta, of the school of 
ie Della Robbia. 


Diameter, 9Vg inches; height, 6 1 /3 inches. 


165—Patir or SIXTEENTH CrenTuRY ITALIAN Masouica / PHARMACY 
VASES Pretiniche? or. 
| ¢¢__ Pear-shaped bodies, with cylindr ical necks. Glazed in light blue, 
or igeaen decorated with branches of yellow flowers and green leaves, 
outlined in brown and with scrolled labels of blue and yellow 
inscribed with the names of the contents. Above these, emblems 
of St. Francis (clasped hands and cross). 


Height, 12 inches. 


Olto CG prrtigol ie 


166—SIXTEENTH CENTURY FLORENTINE Masoutica PLATE _ 
Circular shape, with flat rm. Decorated, on a white ground, 
aon <<— the rim with a border of lozenge-shaped medallions of yellow 
in almond-shaped scrollings of blue, and the center with a 
checkered pattern of small green and manganese squares. 


p Nake! 10 nihas 


Ih eS Aare Pepin 
167—Two SIxTEENTH CENTURY URBINO Ware PITCHERS 
Pear-shaped bodies, with looped handles, with varicolored deco- 
5 7 x & rations. 


4-0 
Height, 101% inches. 


7. : x Ween CAARF\_ 
168—FIrTtrENtTH Crentury SIENESE Primitive Masouica VASE 
Cylindrical shape. Decorated, on a reddish-white ground, in 
js green and manganese, with a pattern of interlacements with 
/ 5 © hatched interspaces. 
Height, 1014 inches... 
TA se 1 f MY VA nei ere 
169—T wo SrxtrentH CENTURY Ursino Ware PITCHERS 
Pear-shaped bodies, with straight spouts and looped handles. 
Varicolored decoration, on one side, of a bishop’s mitre, and on 
od the other of a cross with crescents (arms of the Strozzi family). 


Height, 10 38/5 inches. 


169A—SIXTEENTH CENTURY UrsiIno Ware Fruit DisH 
Circular shape, with scalloped edge, deep fluted rim and cir- 
4 ¢ — cular foot. Decorated in various colors with grotesqueries of 
dolphins, birds, putti and scrolls. The center is occupied by a 
painting of Galatea and a Cupid riding upon dolphins. 


Height, 434 inches; meena 13 imches. 


8e. 


169B—SIXTEENTH CENTURY FAENZA Mosca! HARMACY 


Pear-shaped body, with projecting evince spout ane two 

scrolled handles with mask terminations. Decorated, on a white 
7 44 ground, in green, yellow and blue, with a scrolled label inscribed 
“A. D. MELISSA,” and with a wreath of leaves enclosing a coat-of- 
arms. On the other side, in blue, a device of a double-armed 
cross and a shield initialed G. F. B. and the date 1593. 


Height, 11% inches. 
S N (3 Met Lr_ 


169c—SIXTEENTH CENTURY FAENZA WARE VASE 
= Cylindrical shape. Decorated with the bust of a warrior on a 


i : 
/° blue background between two ribbons in white, one of which 


bears an inscription, and with palm leaves. | 
Height, 11% inches. 


(VON - - r UAE 


169D—SIXTEENTH CENTURY FAENzZA WarE PiIrcHEeR 


Pear-shaped body, with looped handles. 


Height, 13 inches. ° 


169E—P air oF SIXTEENTH CENTURY ITALIAN, Mason ICA PHARMACY, 


oe 


VASES Tne ktyrue Ry. Co 
Pear-shaped bodies, with cylindrical necks. Glazed in light blue, 
decorated with branches of yellow flowers and green leaves, 
outlined in brown and with scrolled labels of blue and yellow 
inscribed with the names of the contents. Above these, emblems 
of St. Francis (clasped hands and cross). 

Height, 12 3/5 inches. 


VIF x ? 


KATA fee & YY oO 


169r—Two SIxTEENTH CENTURY CasTEL DURANTE WaRrE VASES 


ane te 


ye 


Albarello-shaped pharmacy vases, decorated with the names of © 


the drugs in Gothic lettering and with coats-of-arms, and mili- 
tary trophies enclosed in garlands of fruits and flowers. 


Height, 73), inches. 


169G—Pair OF SIXTEENTH Century Iranian Masonica PHARMACY 


VASES Vy % pepe“ Maret 


Pear-shaped bodies, with cylindrical necks. Glazed in light blue, 
decorated with branches of yellow flowers and green leaves, 
outlined in brown and with scrolled labels of blue and yellow 
inscribed with the names of the contents. Above these, emblems 


of St. Francis (clasped hands and cross). 
Height, 121% inches. 


169H—Parr OF SIXTEENTH CENTURY ITALIAN Masonica Puarmacy 


ri rT hd 
{ v 


VASES VU. 
Pear-shaped bodies, with cylindrical necks. Glased in 1 light blue, 
decorated with branches of yellow flowers and green leaves, 
outlined in brown and with scrolled labels of blue and yellow 
inscribed with the names of the contents. Above these, emblems 


of St. Francis (clasped hands and cross). 
Height, 12% inches. 


am 
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ar 


a 
A 


A 


a 


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Lere 


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Wr ee ge RK. 


AEP gh 
1691—Pair oF SIXTEENTH CENTURY CaFrAGGIOLO WaRE VASES 
Pear-shaped, with cylindrical necks and two handles. The necks 
o/ ) — decorated in blue on white with the emblem of St. Francis, within 


a wreath of fruits and leaves. 
Height, 22 1/5 winches. 


LG ee 


1693—SIXTEENTH CENTURY Farnza Masouica TILE : 


Oblong shape. Decorated, on a white ground, with the profile 
head of a woman in light blue and brown on a dark blue ground. 


[se 
Height, 5% inches; length, 11% wches. 
/) 
6) to neerty 
169K—SIXTEENTH CENTURY FarEnNzA Magouica TILE {a 
SMe Oblong shape. Decorated, on a white ground, with a portion 
ah ee of a scrolled circular medallion in blue occupied by the profile 


head of a woman in blue, brown and yellow. 


Height, 5% inches; length, 117% inches. 


SECOND AFTERNOON’S SALE 


WEDNESDAY, NOVEMBER 22, 1916 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 170 to 330, inclusive 


ITALIAN LINENS _— , 
CEG Grrr Agen 
170—TWENTY-THREE EIGHTEENTH CENTURY ITALIAN Berge 
leg 25 Hand-towels of white linen. 


M by Us \ 
171— FRAGMENT OF A FIFTEENTH CENTURY UmerIAN LINEN 'TOWEL 
J Ws _ Part of a hand towel with a woven patterning in blue. 


(gy Dot wee er Bsa Mie i a © Sey CML 
172— FIFTEENTH CENTURY UmBrRIAN LINEN TOWEL ates 
f A hand towel of white linen with a woven pattern in blue. 
age 
Pa DAA | M124 a 


173— EIGHTEENTH CENTURY VENETIAN Stans: TABLE GArR 
Nearly square shape. Table center of white silk, interwoven in 
an ornate design with silver threads, and with a decoration of 

S—<* flowers and leaves, embroidered in varicolored silks. Finished 

with a gold fringe. 
Length, oes gt ae width, 181% inches. 


174—SIXTEENTH CENTURY ITALIAN LINEN Tr ecrarie 


Paws Oblong shape. A small tablecloth of white linen embroidered 
° — with a small design in gold and silk, with a fringe of gold 
threads. 


Length, 31 inches; width, 20% inches. 


175—SIXxTEENTH CrentTuRY ITaLIAN LINEN TAaBLEctorH 
Oblong shape. A small tablecloth of white linen bordered with 
Sere a small edging embroidered in yellow and red silk, and with a 
small fringe. 


Length, 3-feet 7 1/3 inches; width, 21 3/5 inches. 


176— EIGHTEENTH CENTURY ITALIAN TABLECLOTH 
((,s/7 Of white linen with fringe. 


() pit 
yr. a AOA 
177—SIXTEENTH CENTURY ITALIAN LINEN TABLECLOTH 


~ , ». Oblong shape. Tablecloth of white linen, embroidered in Eng- 


/ ¥ —~ lish point, with a foliage design of various colors. 


Length, 6 feet 4% inch; width, 2 feet 7% inches. 


{ W) ‘3 yj, 
178—F 1rTEENTH CENTURY UmpBrian IANEN TABLECLOTH 
Oblong shape. ‘Tablecloth of white linen cloth with a woven 
Lib See patterning in blue, of figures of plants. 


Length, 8 feet 81% inches; width, 2 feet 81% inches. 


TEXTILES — 


van a 
Ya 


| NS ane Kase 
179—SIXTEENTH CENTURY ITALIAN SILK CUSHION 
Oblong shape. Covered with red silk having a small waved 
os “— design. 
Length, 14 1/6 inches; width, 10 1/12 inches. 
Bai 
AS ae 
180—SIXTEENTH CENTURY ITALIAN SILK CUSHION / 
Oblong shape. Covered in green striped yellow ‘silk with pat- 
¢_ _ ternings in white. 


Length, 1584 inches; width, 11 inches. 


Cea. fi ( 
CM: Rit, Agent 
181—SIxTEENTH Century Iranian Empromerep Linen te 


Square shape. Covered with white woven linen and chore ered 
with yellow and white silk. 


Length, 15 inches; width, 18 2/5 inches. 


ay Wn ee 
~~ we 


‘s- . om >. 


Vr “Ho. Gk BYR. 
182—SrixTEENTH CENTURY ITALIAN VELVET CUSHION 
Oblong shape. Covered with red velvet, embroidered on one 


4 , « side with gold thread and spangles in a scrolled floral design. 
Wood tassels covered with red silk and gold thread. 


Length, 14 3/5 inches; width, 11 4/5 inches. 


4ya) Va) / 
We Starr prad 


183—SIxTEENTH CENTURY ITALIAN SILK CUSHION 
/ 2s Oblong shape. Covered with white silk, interwoven with silver 
=" thread. Yellow tassels and border. 


Length, 16 1/7 inches; width, 10 2/3 inches. 
7 AD > 


ey . 
frm "¥ Wann 


184—SIXTEENTH CENTURY ITALIAN VELVET CUSHION ~ 
Oblong shape. Covered with purple velvet with a border of gold 
"s g p purp g 
LL (/ — thread. 
Length, 161% inches; width, 10 2/8 inches. 


sf al 
Yn’ by «Ul. | CO, ee a 


185—SIXTEENTH CENTURY ITALIAN SILK CUSHION 


pee Oblong shape. Covered with green silk with a symmetrical 
Vv —~— woven design of grapes and vine. Yellow and green silk tassels. 


Length, 16% inches; width, 14 1/6 inches. 


TRAD YY 
186—SIXTEENTH Century IratiAn Empromwrrep SiLK CUusHION 
Oblong shape. Covered with red silk surrounded by a trefoiled 
Bl ee border embroidered in varicolored silks and gold thread and with 
embroidered floral sprays at the angles. In the center is em- 
broidered an oval coat-of-arms mantled with acanthus leaves. 


Length, 18 9/10 inches; width, 13 inches. 
Wia in Copan 
187—T wo SixteentH Century ITALIAN VELVET CUSHIONS 
a Oblong shape. Covered with red velvet. 
i Ane Length, 19 1 /8 inches; width, 18 inches. 
f \ 
188—Two SrxTrENtH CENTURY ITALIAN VELVET CusHIONS 
¢ —~s_ Oblong shape. Covered with red velvet. 
iN 4 
189—Two SrxTeentH Century Irautan Vetiver CusHions 
—~ «-— Oblong shape. Covered with red velvet. 


; Ft VS 


Vi ‘Lrtatte fee Ad DECOY) a tN ee 
190—SixteentH Century I[raviAn EMBROIDERED SILK CusHI0N 
Nearly square shape. Covered with red silk with a broad ser oNed 
an and trefoiled border embroidered in varicolored silks and gold 
and with embroidered scrolled floral sprays at the angles. In 
the center is an oval coat-of-arms mantled with acanthus leaves. 


Length, 19 1 /3 inches; width, 15%, inches. 
TWA ~ KK. we PAM AWA 
191—T wo SIxTEENTH CENTURY ITALIAN VELVET CUSHIONS 
~-7 ‘£ Oblong shape. Covered with red velvet trimmed with yellow. 


— 
Length, 2114 inches; width, 16 1/7 inches. 


4 Cs (} 
192—Two SixTEENTH CENTURY ITALIAN VELVET CUSHIONS 
¢ 


-,. Oblong shape. Covered with red velvet trimmed with yellow. 
ar Similar to the preceding. 
!* {c ( 
193—Two SixTeentH Century ITatiaAN VELVET CUSHIONS 
Oblong shape. Covered with red velvet trimmed with yellow. 


=. Similar to No. 191. fe 
ly (¥ : é 
to kat " AAM 21 . 


194—T wo SIxTEENTH CENTURY ITALIAN DAMASK etal es 
Oblong shape. Covered in red silk damascus. ( 


im”) 


— Length, 20 inches; width, 16 1/7 inches. 


195—T wo SrxTeEENtH CrentTUuRY ITALIAN CusHtIons ) 


/ 
4 
| 


Square shape. Covered with red velvet embroidered at the cor- 
ners with a scroll design in silver and gold, and in the middle 
with a coat-of-arms. 

Length, 17°4 inches; width, 167g inches. 


4 /) 


/ 


Hy. BLAKE 


196—SIXTEENTH CENTURY ITALIAN SILK CuSHION 


Oblong shape. Covered with red silk, embroidered on both sides 
in gold and silk of various colors, with a broad border and floral 
sprays at the angles, and a coat-of-arms in the center. 


Length, 1734 inches; width, 12 8 /5 inches. 
(Illustrated) 


i 


¢ 


196 


1 


ia YU . ne Bs 


Net Ken Ae A_ 


WO 


197—S1xTrENTH Century ITALIAN EMBROIDERED CUSHION 


Oblong shape. Covered with red silk with a trefoiled border 
embroidered in varicolored silks and gold thread and with simi- 
larly embroidered scrolled floral sprays at the corners. In the 
center is embroidered an oval coat-of-arms surmounted by a 
helmet and mantled with scrolls and acanthus leaves. 


Height, 19 1/3 inches; width, 15 inches. 


~ =" Go a 


ot Ret a ee 
CM Cis BAe eG 
198—SixTEENTH CENTURY ITALIAN EMBROIDERED SILK CUSHION 
Nearly square shape. Covered with silk with a scroll and tre- 
ST = foil border embroidered in varicolored silks and gold and with 
scrolled floral sprays at the angles. In the center is embroidered 
an oval coat-of-arms mantled with acanthus leaves. 


Length, 19 1/8 inches; width, 1534 inches. 


ra ag (Egy: fp. 
s is (oO. ( i ate 
v™ -\ TRAKAMN BC 


199—Two SrxTEENTH CENTURY ITALIAN DAMASK CUSHIONS 
Oblong shape. Covered in red silk damask. 


h ~ 

(4) , 

Bp. YY RYU QI Www 
200—Two Srxreenta Century Prarran Damask CUSHIONS 


Oblong shape. Covered in red silk damask. Similar to the 


preceding. 
/) : 
Y) AK iy Wines Obs 


201—SIXTEENTH CENTURY ITALIAN Damask CUSHION 


SSI 
LU —_ 


Oblong shape. Covered in red silk damask. Similar to the pre- 
jf 730 ~=— ceding (No. 200). 
: 4 
Wyre Qe aL 

202—SIXTEENTH CENTURY ITALIAN STK CusHION 

Oblong shape. Covered on both sides with white silk, bordered 

with galloon. 
ipo Length, 15 inches; width, 1734 inches. 
203—T wo SrxreenrH Century Irarian Vetver CusHIons ( 

Oblong shape. Covered on one side with velvet and on the ot 
— >, «¢_ with red silk damask; gold trimmings and yellow silk tassels. 


0 wv 


er 


Length, 1784 inches; width, 15% inches. 


aioe if sf 1A , 
rd -(L- Vi Vote 
204—Two SIxTEENTH CENTURY ITALIAN EMBROIDERED SILK 


CuSHIONS 


Oblong shape. Covered with red silk embroidered in gold 
~~ thread, at the four corners with heart-shaped figures formed by 
floral scrollings and in the center with a large coat-of-arms of 
a rampant lion surmounted by a helmet and mantled with bold 
scrollings. ‘Tassels of red silk wound with gold thread. 


Length, 21 8/5 inches; width, 151% ches. 


A 


A a 
VAM ‘nr VMI oC. Xp ehck 


_ 


205—SEVENTEENTH CENTURY ITALIAN DAMASK Larce CusHIon~ 
Oblong shape. Covered, on both sides, with red silk damask. 


ye : : : 
we” Length, 3 feet 1 4/5 inches; width, 181% inches. 
oN 
| Y 
Qe QVUUNSarvek&, 


206—SEVENTEENTH Century IratiAn Damask LArce CusHIon 
Oblong shape. Covered, on one side, with red silk damask. 


ms 7 oe Length, 3 feet 101% inches; width, 151% imches. 


KD 


> 


Oe 


207—T wo FIrrEENTH CENTURY FLORENTINE EMBROIDERED VELVET 
Cusuions (7/447 (010: Lorre Ogan® 
Rectangular shape. Covered with red velvet richly embroidered 
in gold and silver with voluted foliage. In thd center is a coat- 
of-arms consisting of an eagle. Silk tassels at the corners. 


Length, 18% inches; width, 12 1/5 inches. 


4 
Fon 


f 


208—KEIGHTEENTH CENTURY ITraLIAN Sink MANIPLE 
Maniple of red silk decorated with flowers and crosses, embroid- 
ered in varicolored silks and gold and silver thread. J, , 
war Sor IWe renee 
209—SIXTEENTH CrntTuRY ITALIAN SILK STOLE : 
Priest’s stole of green silk, with a small woven design and silk 
fringe. re re oe 
Ok Nay aot eR ee fe MK 
210—SIxTEENTH CENTURY IraLIAN EmproipErRED SiLK CHALICE 
CovER 


—., Square shape. <A chalice cover of green silk, embroidered in 


gold and silver threads, and bordered with a small silk fringe. 
Length, 201% inches; width, 19 7/10 inches. 


AL 


A 


q /\ ’ Sf oy - , 
0 a ' X AG A Sf Agn ae UA LA 
211—F irteentH Century IraniAN BrocaTELLE CHASUBLE 


Priest’s chasuble of brocatelle with a yellow ground and a small 


‘, «<— design in green. Down the center is a stripe of yellow brocatelle 


ww 


/ 


f — 


with an embroidered design representing “The Annunciation.” 


Length, 3 feet 9 1/3 inches. 
aN ae o—\ 
Lites “vl Orel’ 
212—SIXTEENTH CENTURY ITALIAN De CHASUBLE 
Priest’s chasuble of red silk damask, woven with a small design. 
,e Down the center and around the neck are applied strips of 
~ red velvet decorated with ornaments in blue velvet. The ground 
is decorated with applied work and embroidery. 
Length, 39 te inches. 
oy 


Thine - ( ithe 6-0. UA BY 
213—PortTION oF A SIXTEENTH CENTURY ITALIAN SILK CHASUBLF 
Portion of a priest’s silk chasuble, with a floral design in rose- 


-°©_ color ona green ground. 


Length, 43 1/3 inches; width, 27 3/5 inches. 


214—PartT oF A SIXTEENTH Set ina LIALIAN BROCATELLE 
CHASUBLE a ee gh re a 


— 


_-«*__ The decorative central applied stripe of a priest? s chasuble in 


yellow brocatelle with a subject woven in red representing “The 
Annunciation.” 
Length, 89 2/5 inches; width, 7% inches. 


VV ie a5" 4 
VIA ACCA IVA 
215—SIXTEENTH CENTURY VENETIAN SILK CHASUBLE 
Priests’s chasuble, stole and maniple of green silk interwoven 


—»+ With silver thread and enriched with a patterning of small flow- 


ies ers in gold and silver. Border and fringe of silk interwoven with 


silver threads and spangles. 
Length, ep feet 4 mh inches. 


A 


Tha: eee . KEL ss Corey AR 
216—SIXTEENTH CENTURY ITALIAN VELVET CHASUBLE 
Priest’s chasuble, with a stole and maniple of red velvet with a 


-%¢ bordering of yellow cut velvet. 
Length, 3 feet 7 1/3 inches. 


/ 


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>. uw i A A 
\ Ce 7 - LAR 3 Q a 


217—EIGHTEENTH CENTURY VENETIAN Lapy’s CosTUME 


j= 


A lady’s dress, consisting of a bodice, with sleeves and skirt of 
white silk, interwoven with silver and decorated in bold design 
of flowers and leaves woven in green silk and gold. 


Length, 9 feet 10 inches. 


eee, fy Ta Lf 
Wr pn lhe. Anns t§dae 


218—SrxTeEENtTH CENTURY ITALIAN CUT-VELVET ALTAR FRONTAL 


Oblong shape. “Paliotto” or altar cover of cut red velvet bor- 
dered with galloon of silk and silver thread and a fringe of green 
silk. 


Length, 5 feet 81% inches; width, 811% inches. 


| Fa /) fi ; f 
hn Na 6 Wow 


219—SIXTEENTH CENTURY ITALIAN ALTAR FRONTAL 


220 


A deo . 
f} a 


A Paliotto or altar covering of Hungarian point worked in 
a geometrical design. Bordered with gold galloon and fringe 
and having a decoration of silver threads on the upper part. 


Length, 7 feet 3/5 inch; width, 3 feet 1 3/5 inches. 


SIXTEENTH CENTURY rite Pana Cook 


A priest’s cope of white brocatelle, with a scrolled patterning in 
red and a border and fringe of yellow silk. 


in 
et 


(2.2 Woe 


A 


221—FirrreentuH Century FLoRENTINE CutT-vELVET BANNER 


BY A core 


A. processional banner of cut red velvet, the ground interwoven 
with silver threads and with a red silk fringe. 


Height, 6 feet 684 inches; width, 22 inches. 


a Re RIA? A 


222 Four SIXTEENTH CENTURY ITALIAN SILK CHaArR Backs 


Oblong shape. A set of four chair-back coverings of red silk. 
Embroidered in varicolored silks with a design of foliage and 
scrolls having dolphins’ heads in yellow silk. 


Length, 201% inches; width, 15 inches. 


aia 5 /) y 
UF Lia eee le _- 
223—SIXTEENTH CENTURY VENETIAN TABLE COVER 


Square shape. Small table cover of brocade in a foliage design 


gee interwoven with gold and silver threads and edged with a gold 
fringe. 
Length, 2114 inches; width, 20% inches. 


Cita a 
45 ~ er aan 
224—SIxXTEENTH CENTURY ITALIAN CUT-VELVET /FABLE 


OVER 
3 a Oblong shape. 
ian 


Table cover of yellow cut velvet eee a small 
design in relief of green and edged with a rich silk fringe. 


Length, 4 feet 4/5 inch; width, 3 feet 3 2/5 inches. 
{\ A ve 
A ee 


Rr K GUC AR 
225—FIFTEENTH CENTURY Traian” BrRocaTELLE CovER 
Oblong shape. 


Table cover of red brocatelle woven in’a small 


be design on a background interwoven with gold threads and edged 
- with a rich gold fringe. 


Length, 5 feet 8 9/10 inches; width, 1 foot 5 1/8 inches. 


Y ora 

/N Pt ee A Mgeore ee 

226— FIFTEENTH CENTURY ITALIAN CUT-VELVET TABLE COVER 
Oblong shape. 


Table cover of green cut velvet with a small de- 
5 _ ge signin relief and edged with a fringe of gold threads. 
o/ Uj — 


Length, 5 feet 5 inches; eRe 2 feet 111% inches. 


Yur- o Ci hctybed. 


227—SIXTEENTH CENTURY ITALIAN BROCATELLE TABLE COVER 


Oblong shape. Table cover of vellow brocatelle with a design 


fs ‘<i ’* of large red flowers and edged with a very rich silk fringe. 


Length, 5 feet 3 inches; width, 4 feet 4/5 inch. 
; f 
228—SixTEENTH CrntTuRY [raLIAN VeLveT TABLE COVER 
Nearly square shape. Table cover of green velvet surrounded 


eg i DY A border woven in gold thread. 
“ , 9 A 
ot ¢ 


Length, 5 feet 10% inches; width, 4 feet 7g inches. 


[sao 
— 


x 


3H 


~ 


/ /} 
(Vir To (ewer 
229—Two SixreentH Century IraLiaN VELVET CUSHIONS 
». Oblong shape. Covered with red velvet with a bordering of 
foliage design, richly embroidered in gold thread. 
Length, 4 feet 71 inches; width, 201% imches. 
(Illustrated) 
oe a / Le 
230—SEVENTEENTH CENTURY IraLtIAN Damask TABLE COVER 
Oblong shape. Table cover of red silk damask woven in a bold 


—,v_- design and edged with a fringe. 


Length, 6 feet ¥z inch; width, 4 feet 9 inches. 
231—SIxTEENTH CENTURY ITALIAN VELVET COVER 
Oblong shape. Table cover of green velvet, surrounded by a 
border woven in gold thread. 


Length, 5 feet 107% ie Se 4 feet 71% inches. 


Wns - 6 bob, ee 


232—SEVENTEENTH CENTURY ITALIAN vee CoOvVERLET 


ve 


ye Nearly square shape. Bed coverlet of red silk damask woven 
~ in a small design. 


Length, 7 feet 64 inches; width, 6 feet 10 38/5 inches. 
Yur - ee be. / 
233—SEVENTEENTH Century IrattAn Damask CovERLET 
Oblong shape. Bed coverlet of red silk damask woven in a bold 
design. 
Length, 5 feet 10% inches; width, 9 feet 214 inches. 
234—SixreentH Century ITALIAN Winer CovERLET 
Nearly square shape. Bed coverlet in green silk damask, woven 
e<— ina bold design and bordered with a small fringe. 


Length, 8 feet 8 1/6 inches; width 7 feet WR} inches. 
TVX" Bie 
235—SEVENTEENTH CENTURY ITALIAN Damask CovERLET 
,¢ Square shape. Bed coverlet of green silk damask woven in a 
small design and bordered with a fringe. 


Length, 8 feet 10 1/3 inches; width, 8 feet 5 1/38 inches. 


SNOIHSD\) LIATHA NVIIVIT AUOOINA) HINGALXIG OMT, ‘646 “ON 


i ern ct ost ty 


ty se ste 
+ gure a om ee 4 


’ 


L/h 


236—SEVENTEENTH CENTURY IraLIANy Damask CovERLET 
Nearly square shape. Bed coverlet of red silk damask, woven 
Fr with a large patterning. 
Length, 9 feet 21 inches; width, 8 feet 4 2/5 inches. 
) “a 


237—SEVENTEENTH CENTURY ITALIAN) DAMASK COVERLET 


Nearly square shape. Bed coverlet in red silk damask woven in 
a bold design. 
Length, 9 feet 101% inches; width, 8 feet 10 1/3 mches. 


ry 1M. VA 
238—SIXTEENTH CENTURY ITALIAN Damask COVERLET 
Square shape. Bed coverlet of green silk damask woven in a 
small design and bordered with a small fringe. 
Length, 9 feet 4 inch; wid , 8 feet 10 1/8 inches. 
MO grr 
239—SIxTEENTH CrnturY ITALIAN BrocaTELLE PorRTIERE 


,. Single portiere of yellow brocatelle with a bold scrolled design 
yo —" of red and a broad border of blue. Edged with gold galloon and 
a silk fringe at the upper edge. 


Length, 7 feet 21% inches; width, 5 feet 84g inches. 


my} OL 


Vy Vee Si ee 
240—SIXTEENTH CENTURY ITALIAN DAMASK PORTIERES 
/ ~~ asmall design. 
Length, 11 feet 11 1/8 inches; width, 7 feet 101% inches. 


Te |B CC peh ee 


241—SEVENTEENTH CENTURY ITALIAN Damask PortTimREs 


Sp cahnenen Pair of portieres of red silk damask woven in bold design. 
ch / b) —" 


a Pair of small portiere curtains of al silk damask, woven in 
/ C7 


Length, 12 re 6 3/5 Iai E width, 6 feet 6°4 inches. 
KY ee me “Vy 
242—SIxTEENTH CENTURY IraLIAN Damask Bep Serr 


Ps Of red silk damask, woven in a small design, consisting of four 
ij 2 pieces. Two coverlets and two small covers. 


Respective lengths, 7 feet 4 3/5 inches, 5 feet 334 inches, 8 feet 
33/5 inches and 7 feet 81% inches; widths, 7 feet 2 3/5 inches, 
4 feet 7 9/10 inches, 2 feet 51% inches and 5 feet 3 inches. 


o~ " y é 
(hir- V> 6 FO errr 
243—EiGHTerntH Crntury Iranian Sirk Brep HANGINGS 
Draperies and canopies for a bed of green moiré silk bordered 
J S50 ‘“_ with a fringe. 


First curtain: Height, 7 feet 1014 inches; width, 7 feet 2 8/5 inches. 
Second curtain: Height, 8 feet 2 2/5 inches; width, 7 feet 81% inches. 
Canopy: Length, 22 feet %4 inch. 
Small canopy: Length, 21 feet 39/10 inches. 
ane ey A 
VC Wannceke 
244—SIXTEENTH CENTURY ITALIAN VELVET 


eae A length of old red velvet. 
ey ie, 
Length, 7 feet 2 3/5 inches; width, 3 feet 1 2/5 inches. 


ws « 
a 


(Se 77 
245—SIXTEENTH Century IranIAN VELVET STRIP ease AE 


A length of old blue velvet. 
Length, 3 feet 81/10 inches; width, 1 foot 11 3/5 mcehes. 


i 
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| 


e ea) Ne ae A eA. AL 
246—FirreENtH CEnTury ITALIAN CUT-VELVET STRIP | : 
Olive-colored cut velvet of a small foliage design on a back- 
oem ground interwoven with gold threads. Edged with yellow silk 
fringe and a blue border embroidered in gold. 
Length, 6 feet 8 4/5 mches; width, 11 4/5 inches. 


fi 


yy NAVs SP ennnrtt 
247—SEVENTEENTH CENTURY ITALIAN Damask 
Several pieces of red silk damask, woven in a bold design. 
7 ae 
eT 0 Complete length, 15 feet 9 3/5 inches; width, 2 feet 1 3/5 inches. 
: > Bee fe) 
248—SEVENTEENTH CENTURY IraLIAN Damask STRIP 
A length of old red silk damask, woven in a bold pattern. 


4 


a Length, 19 feet 61/4 inches; width, 2 feet 1114 inches. 


249-—StxtEENtH CrnturRY IraLiAN VELVET STRIP iWor 2een, 
Length of red velvet. | 
Length, 9 feet 1014 inches; width, 19 3/5 inches. 


f é 7 , 
\ “ VY -—+ /) f 
250—Two SEVENTEENTH CENTURY FLORENTINE CUT-VELVET STRIPS 
Two lengths of cut red velvet of a bold design of scrolled, pointed 
and voluted leaves on a ground solidly interwoven with gold. 


Lengths, 29 feet 634 inches and 19 feet 4 inches. 


Ge 


Note: This velvet has an interesting story. During the XVIIth 
century Count Alessandri of Florence ordered his bedroom to be hung 
with cut velvet. After the work was completed two rolls remained and 
were placed for safety in a cassone. Here they remained forgotten 
until Professor Volpi purchased them from the present Count Alessandri. 
So the room in the Alessandri Palace is still hung with faded velvet of 
the identical weave of that here catalogued, which is as fresh and un- 
sullied as when it was made nearly three hundred years ago. 


Fa 


Sg 


, (ASA oa ee 
251—SIxTEENTH CENTURY ITALIAN ere SrTrip 


A length of pink satin in four pieces. 


' "ea 
/ OY ——— 
Length, 28 feet 10 1/5 inches; width, 19 3/5 inches. 
is rs y a 
Ure, Ct AALS 
252—QUANTITY OF SEVENTEENTH CENTURY IvaLIAN SATIN 
Old red satin woven in a bold pattern. 
Total length, 84 yards 25 3/5 inches. 
i fp Any, 
f f 
APAMH Shit mig 
253 EENTH CENTURY IraLian CUtT-vELVET STRIP 
,« A length of red velvet, cut in a bold counter-changed ‘design 
g ~ ona light yellow ground. 


Length, 68 inches; width, 19 3/5 inches. 


=) Ee) ir sat Mn" 
254—SIXTEENTH CENTURY ITALIAN SrLK Srrip 4 


Small length of red silk, richly embroidered in gold thread with 

—  « a design of small floral and foliage sprays bordered on three 
sides with a gold fringe. 

ieee 21 3/5 inches; width, 7 inches. 


ae 
255—Two SEVENTEENTH CENTURY ie AMASK a 
Two lengths of red silk damask woven in a bold design. 


Lengths, 14 feet 2% inches and 27 1/5 inches; widths, 13 feet 
5 2/5 mches and 26 inches. 


rine O bh an ANE 
256—SIXTEENTH CENTURY ITALIAN VELVET 
A piece of old red velvet in three strips. 


Fy fA oe _ Length, 85 feet 1% inches; width, 201% inches. 
Y ‘ —~ 
f : rm e 


Movrek |ikater 
257—QUANTITY OF SEVENTEENTH CENTURY ITALIAN SATIN 
,¢ Lot of old red satin, consisting of 58 pieces. 


a ae 4 
aed Total length, 247 yards and 5 3/5 inches; widths, 20 inches to 
24 2/5 inches. we 
y Y) MW VA q hy 
> er ¢ oF ad 
ee ee OY herr lly ina ai 


Thara (OM: deren ran poh or 


258—Nomap Asia Minor Prayer RvuG 


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Y 


Executed in Ghiordes pattern about 1800. Oblong hens ‘The 


,, mihrab, with a red ground, has a shaped and stepped arch out- 


~ lined in white, with two ewer forms and a floral spray taking the 
place of the usual mosque lamp. The sky spandrels, on a light 
blue ground, are occupied by a scrolled floral patterning of red, 
white, blue and yellow. The main border, on a dark ground, 
has a design of pointed scrolled zigzags occupied by scrolled 
interlacements in light colors. The inner and outer guards are 
of undulating and quatrefoiled patternings on a yellow ground. 


Length, 5 feet 10% inches; width, 3 feet Y inch. 


OREO AE IGRI DOG A U9 DEORE 


CSN St 


bITa aa 


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SEV 


hy 3 ate 


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259—ANCIENT Lear Rue sips rut 


2 


Western Asia Minor, sixteenth century. An exceptionally 
choice specimen, of the same type as the rug No. 260. The field, 
with a red ground, is patterned with geometrically conven- 
tionalized leaf forms and interlacements in yellow relieved by 
passages of light and dark blue. The main border, on a red 
eround, has a design of regularly diapered quatrefoiled medal- 
lions and trefoil lily forms in yellow and red. 


Length, 5 feet 1 inch; width, 5 feet 1 inch. 


aon 
ostasmisemtantny ARN) 


Ea app oa 


{\eey Ah 
Lan / / G) 12 \ 1 
| Vise 
260—ANCIENT Lear Rua ete Ne 


Western Asia Minor, sixteenth century. One of the finest of 

the rare rugs often seen depicted in the paintings of Lorenzo 

UU _ Lotto, Girolamo dai Libri, Bronzino and Luca Longhi. Speci- 
men of the very highest order. The field, with a red ground, 
is decorated with a pattern of geometrically conventionalized 
leaf forms and interlacements in yellow relieved by passages of 
light and dark blue. The main border, on a blue ground, has a 
patterning of interlacements based on Cufic lettering in various 
colors of which yellow is the predominating. 


Length, 7 feet 6 3/5 inches; width, 4 feet 7 1/10 inches. 


Ao RR AS $72 ayy x Bx 


261—Rue or Buur Srars ( 


+ 


ES coh CONTE ECE CREPE RAT aS 
2 ee itis 
{wads ¥ * «4 
A # = * $P en DO Cen >, Se 3 OM! ae SA 


ot SS LENS IANS 
# $8: ; Yo ; . 


(p10 tee 

~ NY AML 

Cushak, Western Asia Minor, sixteenth century. Similar rugs 
are to be seen depicted in Bordone’s “Fisherman and Doge” 
at Venice and in Netherlandish paintings of the early seven- 
teenth century. A rug that is almost priceless. The field, on 
a red ground, is patterned with large eight-pointed star figures 
alternating with smaller lozenge-shaped medallions, enriched 
with interlacements and arabesques and is further decorated 
with scrolled branches of flowers and leaves. The main border, 
on a red ground, has a reciprocating pattern of arabesque leaf 
forms and loops in black, blué and yellow. The inner and outer 
guards have scrolled and floral patterning of yellow on blue 
grounds. 


Length, 12 feet 1 3/5 inches; width, 6 feet 634 inches. 


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ITALIAN FURNITURE OF THE EARLY RENAISSANCE 


That the furniture of the Villa Pia and of the Davanzati Palace 
Collections should be of a character so similar is easily explainable by 
the fact that the same guiding motive directed their gathering. 
Though typically Italian, these nobly proportioned, exquisitely fash- 
ioned, cabinets and tables and chairs, carry with them hardly a sugges- 
tion of that later and more flamboyant furniture of the Italy with which 
many of us are familiar. That “beautiful simplicity and purity of 
the Grecian and Roman models,” which influenced more than one gen- 
eration of Italian artists and craftsmen, is nowhere seen to better ad- 
vantage than in this magnificent furniture. Despite its ample size, 
which adapted it originally to the spacious and lofty rooms of the 
Cinquecento palazzi, and occasionally the almost lavish exuberance of 
its marvelous carving, yet the sweetness and severity of its lines entitle 
it to find itself at home no matter what the surroundings amid which 


it may find itself. 
Het: 


FURNITURE SPDR Ss 
(STS aan corde Lary 
262—TuHREE SEVENTEENTH CENTURY ITALIAN WALNUT STOOLS 
Rectangular shape, supported on four square tapering legs, 
0 ** molded and carved, and with scrolled and carved cross-stretchers. 
Covered in contemporary red velvet with red silk fringe. 


Height, 1 foot 8 inches; width, 1 foot 10 inches. 
4 

Sito mwa 

263—F ouRTEENTH CrntTURY VENETIAN GorHiIc RELIQUARY 
In the form of a chdsse with hinged cover shaped as a gabled 
roof. Decorated with carvings of the late Gothic period. The 
he sides are enriched with Gothic tracery, the cover with similar 
tracery enclosing the sacred monogram I.H.S. and the head of 
a Saint, and the sloping angles of the top are crocketed, the 
angles of the body being buttressed. Almost entirely gilt with 
gold leaf overlaid on a red ground, the background being picked 

out in blue. . 


i 
Aa 


Height, 1 foot 5% mches; length, 1 foot 8 inches; depth, 1 foot. 


264—SEVENTEENTH CENTURY VENETIAN CARVED AND GILT Woop 
Mirror Cae 2G, oy 

rea Shield-shaped, with inner molded frame surrounded by panels 

formed by molded ribbings. The outer frame elaborately carved 

with female caryatides at the sides, scrolls and festoons of flow- 

ers and leaves and masks. Below, from a carved floral rosette 

spring two curved branches terminating in carved rosetted 


candle-sockets. Original mirrors. 


Height, 2 feet 7 inches; width, 1 foot. 5 inches. 


265—SEVENTEENTH CENTURY VENETIAN CaRVED AND Git Woop 
ade Mirror 0 yy 


ok mae, ( 
‘di 3 \ ay A 
“hee Similar to the preceding. . C VAAL 


Height, 2 feet 7 inches; width, 1 foot 5 inches. 


266—SIXTEENTH CENTURY FLOR 


TINE TES ae AND GIL 
Mirror FRAME yes tc 


Rectangular frame molded,/carved|and supporting a frieze’ 
carved with masks, floral festdons and a cherub head with out- 
stretched wings; above this is a molded cornice and a broken 
voluted pediment, the central molded entablature being sup- 
ported by a cartouche carved with a coat of arms. The frame 
is flanked by female caryatides with voluted terminations and 
is supported by a vase-shaped column carved with rosettes and 
acanthus leaves. The cylindrical base is flanked by reversed 
consoles and bears a Latin inscription in Roman lettering with 
the date “1595.” Decorated with profuse gilding. 


Height, 3 feet; width, 1 foot 31% inches. 


267—-SEVENTEENTH CENTURY VENETIAN CARVED AND GILT Woop 


Mirror C ye nhl. 
Sag Shield-shaped, with inner molded frame surrounded by panels 
= * formed by molded ribbings. The outer frame elaborately carved 


with female caryatides at the sides, scrolls and festoons of flow- 
ers and leaves and masks. Below, from a carved floral rosette 
spring two curved branches terminating in carved rosetted 
candle-sockets. Original mirrors. 


Height, 2 feet 7 inches; width, 1 foot 5 inches. 


268—SEVENTEENTH CENTURY V ENETIAN Carvep AND GILT W oop 
S30 gs eo . ( sey prrth 
icciaad Similar to the preceding. 


Height, 2 feet 7 inches; width, 1 foot 5 inches. 


269—T'wo oe Century Iranian BEECHWoon “Savona- 
ROLA” CHAIRS ag (Sn LiKe. 
,. Curved sides and bases, formed of seven interlacing square 
-¥ & ~~ supports pivoted at their intersections so as to form folding 
chairs with square seats. Shaped back rails, with incised circles, 
straight arms ending in turned balls. Fronts with incised deco- 
ration and straight base rails. 


270—Two SEVENTEENTH CENTURY ITALIAN yeaa pore otc: 
99 { 
ROLA’ CHAIRS KY APE ITE Bs S12. 

Curved sides and bases, formed respectively of seven and eight 

aa « interlacing square supports pivoted at their intersections so as 
to form folding chairs, with square seats. Shaped back rail with 

incised rosettes and circles, straight arms with ball and bracket 

shaped ends. Fronts with incised rosette decoration and straight 


base rails. 


271—T wo ae tH Century Iranian WaALNuT Ries 
ROLA” CHAIRS LQ nvr \Wrne 

Curved sides and bases, formed of eight We ariaeae square sup- 

vy x gj & ports pivoted at their intersections so as to form folding chairs 
| with square seats. Shaped back rails decorated with incised 

circles, straight arms with molded ends, fronts with rosetted 


decorations and straight base rails. 


272 


SEVENTEENTH CENTURY hae BrncH woop “SAVONAROLA” 

Cua L. Cat 
Curved sides and bases, formed respectively of seven and ten 
interlacing square supports pivoted at the intersections so as 
to form folding chairs with square seats. Shaped and reeded 
back rails, straight arms with ball ends, fronts with incised deco- 


ration and straight base rails. 


6 Ay eaiG / 
VG Want 


273—FIFTEENTH CENTURY ITALIAN WatLNutT CABINET ‘TABLE 


Square shape. The top inlaid with bands of light-colored wood. 
The lower portion is formed as a cabinet with drawer and cup- 
board, the drawer front and hinged door being paneled. Molded 
base with two scroll-shaped feet. 


Height, 2 feet 7 inches; width, 2 feet 9 inches; length, 3 feet 3 inches. 
/) 
ve - CAC Uh_ 

SIXTEENTH CENTURY see WaLnvr CABINET 
Rectangular shape. The front is flanked by two tapering pilas- 
ters decorated with sunken lines, and supporting a molded 
cornice enriched with modillion-shaped brackets. The pilasters 
enclose a cupboard with two hinged paneled doors, and rest upon 
a molded base. 


Height, 3 feet; width, 3 feet 1 inch; depth, 1 foot 2 inches. 


A 
Vt. Ne GV MALE 


275—FIFTEETH CENTURY ITALIAN WALNUT CABINET 


274— 
o Ji f ae 
a eae V/ we 
—_ oe 
> ig q _ 
‘ 


Hexagonal shape on bigh molded base. The cornice is molded 
and dentelled and each of the six sides is paneled, the panels 
being enclosed by carved moldings... On one side the panel 
forms a hinged door with a heavy bronze drop handle and the 
base is formed as a drawer also with a bronze drop handle. 


Height, 8 feet; diameter, 2 feet 10 inches. 


View /) 


276—'T wo SEVENTEENTH Century IraLtian Gitt Hic Pinner ste 


Of Sgabello form. The two side pieces support square molded 
«tops, are carved with gold volutes enclosing pendants of husk 


Sa design below which are oval medallions and grotesque masks, 
and are supported on lions’ paw feet. Entirely gilt on brown 
background. 


Height, 4 feet 2 inches. 


% 


f) ya f) 


/ ( / 

‘ a, x “O LA i ae a, 
277—T wo FirreentH Century Iranian Gitt WALL PEDESTALS 
Shaped as scrolled consoles. The bases are decorated with boldly 


-  earved acanthus leaves and the shafts are fluted. Entirely gilded 


yy 4 
and picked out with blue. 
Height, 5 feet 2 inches. 


Yo 


C% 


| 


278—Two SIXTEENTH CENTURY _ ITAEIAN CARVED | AND GILT 


PEDESTALS OS eer A dtr RgevrA— 


Pay. The fronts of the vase-shaped sides are outlined Ghith boldly 


carved voluted scrolls, the volutes of which support festoons of 
fruits and pendants of drapery. Between are grotesque masks 
and below are carved scrolls and honeysuckle ornamentation. 
The bases are molded and carved and the cross-bars are turned, 
their junctions at the sides being concealed with rosettes. En- 
tirely gilt. 
4 6 @ Height, 5 feet 6 inches. 
U Y Canttea_ 
279—SEVENTEENTH CrentTuRY ITALIAN GILT PEDESTAL 
ye Of Sgabello form. The two side supports, which terminate 
in square molded tops, are carved with bold volutes at the 
sides enclosing pendants of husk design, are further decorated 
with cherubim heads, rosettes and shells, and rest on lions’ paw 
feet. The entire design is gilt with a black background. 


~ p Height, 4 feet. 
Kw - N/ PNK 9 
280—SuvenreentH Century Tranian Watnur CHa 
Square back, with gilded and acanthus-leaf finials. Curved, 
molded and voluted arms on turned columnar supports. Turned 
legs and side rails. Seat and back upholstered in old scarlet 
silk damask with silk fringe and cut-yelvet edgings. 
6: r) i 
Ve ¢ Vn bi tna_ 
281—T'wo Earty SrxTeentH Century [taLian WaALNut CHarrs 
Straight square backs, with carved and gilded acanthus-leaf 
finials. Front rails carved and pierced in a scroll design, square 
legs and square-shaped side-rails. Seats and backs covered in 
contemporary leather stamped in gold, with bands of arabesque 
pattern, secured with rows of contemporary large brass-headed 


nails. amar yi 
XK A-\S alld 

282—HarLy SIXTEENTH CrenTuRY ITaLian WaLNuT CHAIR 
Straight square back, with carved and gilded acanthus-leaf 
finials. Front rails carved and pierced in a scroll design, square 
legs and square-shaped side-rails. Seats and backs covered in 
contemporary leather stamped in gold with bands of arabesque 
pattern, secured with rows of contemporary large brass-headed 
nails. | 


ge 


Tite Gs. 
2883—Two SrixTeentH Century Iranian WaLNuT ARMCHAIRS 

Square backs, with carved and gilded acanthus-leaf finials. 
Straight flat arms supported by turned balusters, turned legs 
/ 2 iL a and straight feet-bars with molded ends. The seats and backs 
upholstered with contemporary Italian embroidery in a design 
of floral scrolls and baskets of fruit, worked, in colored silks, 
upon a coarse linen background. EN silk fringe. 


Ue-h/ QnAUnLe 
284—T wo SIxTEENTH CenTURY ITALIAN WALNUT ARMCHAIRS 
A Os Gc f pX_ 


Fro 
td 


285—Two SEVENTEENTH CENTURY ITALIAN SCLC CHams 


Similar to the preceding. ip 


Square backs, with gilded and carved acanthus-leaf. finials. 

Curved, molded and voluted arms on turned columnar supports. 

hy 0 ,« Turned legs and side rails. Seats and backs upholstered in old 
f scarlet silk damask with silk fringe and cut-velvet edgings. 


| KS 
286—Two Earty SixreenrH Creyrury Iranian Watnut CuHairrs 
Square back, with carved and gilded acanthus-leaf finials. 
* ,. Front rails carved and pierced in a scroll design, square legs 
7-7 ~— and square-shaped side rails. Seats and backs covered in con- 
temporary leather stamped in gold with bands of arabesque 
pattern, secured with rows of contemporary large brass-headed 


nails. | 
G NS) f 
U- (A (s ok prea 


287—Two EarLy SIXTEENTH CENTURY ITALIAN WALNUT CHAIRS 


288—Two SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 


_,, ¢_ Similar to the preceding. 


Rounded backs with curved, molded and voluted arms on turned 
baluster supports. Turned legs, side rails and stretchers. 'The 
seats and backs are upholstered in contemporary red silk damask 


with silk fringe. ae 
~ a / (r ff 
Mn: (s Ar Creg 
289—Two SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 
Straight square backs, with carved, pierced and gilded acanthus- 
Say ‘ leaf finials. Straight flat arms on turned columnar supports 
a and turned legs with lions’ paw feet, on flat base rails with” 
molded ends. Seats and backs upholstered in old red silk 
damask with silk galloon and silk ball fringe. 


f 
Twas: Ge Lathan 


290—T wo SEVENTEENTH CENTURY ITALIAN WaLNUtT ARMCHAIRS 


291—T wo SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 
Straight square backs, with carved, pierced and gilded acanthus- 
3 fay TA leaf finials. Straight flat arms on turned columnar supports and 
turned legs with lions’ paw feet on flat base rails with molded 
ends. Seats and backs upholstered in old red silk damask with 

silk galloon and silk ball fringe. 


a 
Og ¢ “~ Similar to the preceding. 


— 


een é hww- Se: pee) Wee if pnt SA 

2—T wo SEVENTEENTH CENTURY ITALIAN Watnur Carrs 

Square backs, with gilded and carved acanthus-leaf finials. 

¥ Curved, molded and voluted arms on turned columnar supports. 

LEY (0 —Turned legs and side rails. Seats and backs upholstered in old 
scarlet silk damask with silk fringe and cut-velvet edgings. 


rn ; 
293—Two SEVENTEENTH CENTURY ITALIAN a eam eee 


: _ .« Similar to the preceding. 


hanes 5 aan @, 
 acote F Id 


294—T wo SEVENTEENTH CeNnTurRY IraLiaAn BEECHWoop “Sayona- 
ROLA” CHAIRS L/ pparr“Qemw_ (VF Ad. 
Curved sides and bases, formed of seven interlacing square sup- 
_. ports pivoted at the intersections so as to form folding chairs 
fe SU — with square seats. Shaped back-rails with incised circles and 
rosettes, straight reeded arms with molded ends and straight 
base rails. 


295—Two SEVENTEENTH CENTURY ITALIAN BEECHWoop “Savona- 
ROLA” CHAIRS KV apnrnterr 9 r4e . 

Curved sides and bases, formed respectively of six and eight 

~ interlacing square supports, pivoted at their intersections so 
as to form folding chairs with square seats. Shaped back-rails, 
one with incised shield and monogram, fronts with incised deco- 
ration, straight arms with ball and molded ends and straight 
base-rails. 


DSO ¢ 
/ 


| Pes vo 
AL UsAhn_ Irth 
296—T wo SEVENTEENTH CENTURY ITALIAN BEECHWOOD “SAVONA- 

pies, ROLA” CHAIRS 

[Uv ‘(ies Curved sides and bases, formed respectively of seven and ten 
interlacing square supports, pivoted at their intersections so 
as to form folding chairs. Square seats, shaped back-rails with 
incised circles, fronts with incised decoration, straight arms with 


ball ends and straight base-rails. 


y, 
2607 = HIS eid eens eae Cah. tA 


297 


SIXTEENTH CENTURY FLORENTINE WALNUT TABLE 


Rectangular plain top. The apron is divided into two drawers 
with paneled fronts carved with floral scrolls design. At each 
corner are square projecting dies paneled and carved to cor- 
respond. The table is supported on four turned baluster legs 
with capitals carved in an egg and dart pattern and the lower 
portions with acanthus leaves. Side and end rails are carved 
with alternating leaf and rosette patternings. 


Height, 2 feet 11 inches; length, 4 feet 4 inches; depth, 2 feet 5 inches. 
Ty> tx 
SEVENTEENTH CENTURY ITaLIAN Git HicH Prprstan 
Of Sgabello form. The two side pieces support square molded 
tops with shell enrichments, are carved at the sides with bold 


volutes enclosing pendants of husk design, below which are lions’ 
masks, and are supported on lions’ paw feet. Entirely gilt. 


Height, 4 feet 1 inch. 


a Es ae 


RCE ELE Sia 


—— 
An | AWE | Sore 
299—FirtreNTtTH CENTURY UMBRIAN TE TABLE Y 


Rectangular top, with straight edge carved in a pattern of im- 
— prications, supported on two lyre-shaped legs and brackets of 
modillion outline, the surfaces carved with bold imbrications. 
The voluted bases are similarly carved and have escutcheons 
occupied by coats-of-arms in their centers. There is a longi- 
tudinal brace carved with leaves and fleurs-de-lis and wedged 


into the legs. 


Height, 2 feet 714 inches; length, 4 feet 10 inches; width, 2 feet 11 inches. 


300—T wo SEvENTEENTH Century Iranian BercHwoop “Sayona- 
ROLA” CHAIRS 4, Onn Oe Oe Re 
‘2 Curved sides and bases, formed of seven interlacing square sup- 
ports, pivoted at their intersections so as to form folding chairs. 
Square seats, shaped back-rails, one with elaborate incised deco- 
ration, fronts with incised patterning, straight arms with ball 
and molded ends, and straight base-rails. 


se 


Gs 


ee 


ps f) 
fn: 


lhe A, pos 
WAN od HMA GWAWG 


301—F 1rrEENTH CENTURY LIGURIAN WALNUT TABL 


Rectangular shape. The top has molded edge carved with semi- 
rosettes and the apron is divided into two drawers with carved 
scrollings of elaborate character and carved masks holding 
bronze rings in the centers. Separating the drawers and at the 
angles are carved angels’ heads. At each end are spirally turned 
columns and from the wide longitudinal brace, carved with 
floral scrollings, rises an arcade of three spirally turned columns. 
The cross base pieces at the ends terminate in carved couchant 
lions resting on ball feet. 


Height, 2 feet 10 inches; length, 4 feet 6 inches; width, 2 feet 5 inches. 
(Illustrated) 


3802—SIXTEENTH CENTURY FLORENTINE INLAID WALNUT CABINET 


Pd AQ 


Rectangular shape in two divisions. The upper portion is fin- 
ished with a molded cornice and a frieze inlaid in light-colored 
woods with an inscription, in Roman letters, “Invidos virtute 
superabis” (“By virtue you will overcome the envious’). The 
fall-down front, inlaid with geometrical designs and an archi- 
tectural subject gives access to the interior fitted with fifteen 
drawers of various sizes with inlaid fronts and bronze drop 
handles. Below is a cupboard with two hinged doors, with 
sunken panels inlaid with views of castles having crenellated 
walls. ‘The sides are also inlaid. 


Height, 5 feet 2 ches; width, 3 feet 9 inches. 


/ es 
Ay J~ \> Noe 


A NW 
303—SIXTEENTH CENTURY FRENCH WALNUT Draw TABLE 


Rectangular top, with draw-out extension leaf inlaid in light- 
colored woods with a geometrical design and supported on four 
turned legs. The upper surface of the base is richly carved 
and rests on four cushion ball feet. 


Height, 3 feet 2 inches; length, 4 feet 8 inches; width, 3 feet 334 inches. 


ATAV], LANTVAA NVIUASIT AUAINGID HINGTLALT “LOG ‘ON 


¥% 


* 
i 


¥ 


BIEL EROS 


304—SIXTEENTH CENTURY FLORENTINE -~OcTAGgoNAL WALNUT 


Tas_e Ihe WV 2 < RGYVMN.ANE- 

,«  Octagonal-shaped top on tripod base. ‘Top with molded ri 

~ fluted apron fitted with four drawers. Tripod base carved in 
a scrolled and rosetted design and ending in lions’ paw feet. 


Height, 2 feet 10 inches; diameter, 4 feet 6 inches. 


oe AANM iz CL 


305—SIXTEENTH CENTURY [FLORENTINE ta ‘ABLE 


Rectangular plain top, with deep apron carved in a design of 

G7, 0 flutings and astragals. The semi-cabriole legs are carved with 

es tones boldly curved acanthus leaves and end in lions’ paw feet sup- 
ported on square molded bases. 


Height, 2 feet 74% inches; length, 4 feet 4 inches; width, 3 feet 
4 inches. 


306 


306—T wo SEVENTEENTH CrentuRY IraLiIAn Girt HigH PEDESTALS 


Of Sgabello form. The two side pieces support square molded 
tops enriched with carved shells; are carved at the sides with 
bold volutes enclosing pendants of husk design below which are 
small oval medallions and large grotesque masks. ‘Turned cross- 
bars and four lions’ paw feet. Gilt on a white background. 


Height, 4 feet 2 inches. 


rt 


—_ 4) 
‘ Ney’ 
\ 


\ ey? YW) = ry 2 ] : Kye 
AY = f= ph LI M_ Lh 
307—SIXTEENTH CENTURY FLORENTINE GiLt WaLNnut HicH 
CANDLESTICK 


°¢ On a pyramidal paneled pedestal with molded base and cornice 
resting on four lions’ paw feet. The shaft is of turned baluster 
design carved with festoons, acanthus leaves and beadings. The 
spreading top, with iron pricket, supports a gilt metal crown to 
receive the drippings of candle wax. 


U/ ad 


Height, 5 feet 3 inches 
(Illustrated) ‘ 

HP AALT KS BK 12. 1A Ginn Qa 
308—SIXTEENTH CENTURY LomBarDIC WALNUT CREDENCE / 
Rectangular shape, with plain top supported by three voluted 
and acanthus-leaf carved modillions between which are two 
drawers with wooden knobs, the fronts carved with foliage. 
Below, the front is divided by three fluted Ionic pilasters into 
two cupboards with hinged doors, the fronts of which have 
molded panels occupied by oval medallions framed with acan- 
thus-leaf scrollings and carved in relief with arms of the Sforza 


family. Incurved and boldly fluted base on lions’ paw feet. 


g¢ 


Height, 3 feet 7 inches; length, 4 feet 11 inches; width, 1 foot 11 inches. 
(Illustrated) 
LUG Ne L/W Ge} | 
309—SIxTEENTH CENTURY UmBRIAN WaLnut TABLE 
Oblong shape. Top with edge carved in foliage design. Apron 
fitted with two paneled drawers separated by carved masks and 
-¢@ flanked at the angles by carved escutcheons occupied by the 
arms of the Orsini family. The four legs are formed as winged 
female terms ending in lions’ paw feet and supported on carved 
and shaped bases. Side and end rails are carved in a rosetted 
pattern. 
Height, 3 feet; length, 5 feet 1 inch; width, 4 feet 11 inches. 


(Illustrated) 


WONATCAU YY) LON TV AQ JICUVENOTT AWOLNGAS) HINGALNIG “SOR “ON 


¢ 


wa* 
a ner 
reas Allens sioaparjnmest ann nuenmncabeaniteteeis 4. rm Se ee ne eS nT See Ones ee eee eee 


WN pL HAENUIV AY NVEEEIN |] VALOR N OE) TAR NODE NTEQ TGOR TON 


. 
. 


(a & / 
Ne % CTA; Le Btn 


Ww 


fo 
310—SIXTEENTH CENTURY ITALIAN Gint CHURCH LECTERN 


Straight crossed supports carved in an imbricated pattern and 
gilt, and turned and carved stretchers. The head is pierced 
and carved in a scroll design with a cherub’s head, the foot with 
a scroll. Mounted with contemporary red velvet, bordered by 
a broad band of gold braid. 


[ a 
| 


Height, 5 feet 4 imches. 
| : > 
x i ES QAM AKR, 


83811—SIXTEENTH CENTURY ITALIAN WALNUT F‘ALL-FRONT CABINET 


— 1 © 
v 


In two horizontal divisions. The upper part is flanked by fluted 
pilasters supporting a deep frieze fitted with two drawers and 
a molded cornice. The fall front, veneered in matched burr 
walnut, gives access to the interior which is divided into five 
drawers and three cupboards with paneled doors and drawer- 
fronts. The lower portion, flanked by narrow molded panels, 
is arranged as a cupboard with two hinged doors having arched 
panels. Molded base. Bronze drop handles to drawers and 
cupboard. The fall front has pierced bronze lock escutcheon 
and bolt plates. 

Height, 5 feet; width, 3 feet; depth, 1 foot 6 inches. 


(Illustrated) 


LANIGV() LNOWI-TIVY LON TV AA NVVIVL]T AUNLNG) HINGALXIG “TLE “ON 


Se ae Sa 


A 


wi # u bt Boal i Hes @é i t ad fe Ae Ae 
siisidé Sil a ij Hii cal Hi @ ejeie Heide (a dsiere eiead é 


~ ey bias PANS NO BUA SU SES HASH ELS 


4 

312—SIXTEENTH CENTURY FLORENTINE WaLNUT TABLE 

Rectangular shape. Edge of top carved in an egg and dart 
— design. Apron divided, on either side, into three panels carved 
with half rosettes and a mask in the center and fleurs-de-lis at 
the angles. Semi-cabriole legs ending in lions’ paws and carved 
with heavy garlands of fruit; side and end rails carved with 
Greek fret designs. 


Height, 2 feet 8 inches; length, 5 feet 2 inches; width, 3 feet. 


PORE GA LEILS LIDDELL ID DOP DLP PPPS ELAR D er aw 


313—EarLy SIXTEENTH CENTURY SIENESE WaLNuT MarriacE 
CHEST \ Beli LG Bcc; 

Rectangular shape, with haneed ne The front is divided into 

| five panels molded and carved in a guilloche pattern, the center 

ate panel being occupied by a carved scrolled cartouche. The in- 
curved base is boldly carved in a design of conventional leaves 
and gadroons. The domed lid is molded and carved in a guil- 
loche pattern. The front legs are of lions’ paw and acanthus- 
leaf design. 


Height, 2 feet 1 inch; length, 6 feet 1 inch; depth, 2 feet. 


314—SIXTEENTH CENTURY Botoeyerse [xiarp Watnut MarriacE 
CHEST VW/C nL Am Lie 

‘<- Rectangular shape, with hinged lid. The paneled front is 

inlaid, in light-colored woods, in a design of foliage, satyrs and 

chimeras and with a coat-of-arms in the center. The front 

angles are supported by winged female terms ending in carved 

acanthus leaves. ‘The domed lid is molded, the incurved base 

is carved with bold gadroonings and the feet are formed as 
lions’ paws. At the ends are heavy bronzed drop handles. 


Height, 2 feet 5 inches; length, 6 feet; depth, 2 feet. 


( ie le, Se Oa an = 


315—SIXTEENTH CENTURY BOLOGNESE WALNUT MARRIAGE CHEST 


Rectangular shape, with hinged lid. Paneled sides with boldly 

x7 73 —v* carved escutcheons in the centers occupied by coats-of-arms and 
flanked by panels inlaid in hght woods. At the angles are 
female caryatides terminating in volutes. The incurved base is 
carved and gadrooned, with grotesque masks in the center, 
and is supported on lions’ paw feet. Domed and molded lid 
decorated with carved fillets. 


Height, 2 feet 3 inches; depth, 2 feet 5 inches; length, 6 feet | 2 inches. 
c VI anche. 
316—SIxXTEENTH CENTURY BoLOGNESE WaLNuT MArriAGE CHEST 
Companion to the preceding. 
3 come 


f / we 
{ 


vOut 


317—SIXTEENTH CENTURY FLORENTINE WALNUT SIDEBOARD 


Rectangular shape. The front divided by three pilaster-like 
panels into three larger panels surrounded by raised moldings 
and occupied, the center one with a carved oval escutcheon hav- 
ing a coat-of-arms in relief, the side ones by fluted rosettes. 
Above is a fluted frieze divided by four voluted modillions into 
three drawers with turned wooden knobs, and above this again 
is a molded cornice enriched by egg and dart carving. The 
ineurved fluted base is supported on lions’ paw feet. 


Height, 3 feet 8% inches; width, 2 feet; length, 6 feet 6 inches. 


ICED teams 


og euwe ee a 


— 


NCL ae ee Sa 


318—SIXTEENTH CENTURY BOLOGNESE WALNUT ARMOIRE 


Rectangular shape. ‘The front is divided by three caryatid fig- 
ures terminating in carved tapering bases into two paneled doors 
carved in relief with elaborate arabesque scrollings springing 
from double-tailed sirens. Above is a curved frieze carved with 
fruits and a heavy molded cornice enriched with a dentelled 
course and an egg and dart patterning. Below are three pro- 
jecting carved pedestals between which are panels carved in 
relief with female figures bearing cornucopiz. Carved and 


molded base. 
Height, 6 feet 614 inches; width, 3 feet 3 inches; depth, 22 inches. 


319. SrxteentH Century Umprian Watnut CHotr-RooKk 


LECTERN 


3819—SIXTEENTH CENTURY UMBRIAN WALNUT 


3820— 


A 


JV Sf SPIMVAGA! 


LECTERN 


Formed in two portions. The lower portion as a square pedes- 
tal having scrolled and carved consoles at the angles, flanked 
by Doric pilasters whose shafts are enriched by carved ro- 
settes. The sides have double panels surrounded by egg and 
tongue moldings with carved cherubim heads in the centers of 
the upper stiles. Above is a frieze decorated with festoons of 
fruits and flowers carved in high relief, surmounted by a molded 
cornice. ‘The base is molded and has shaped aprons. ‘The upper 
portion consists of the lectern, whose double sloping book sup- 
ports are surmounted by a carved cherub and scrolling and are 
supported by a turned and fluted column standing upon a square 
molded base. 


Total height, 8 feet 2 inches; height of base, 4 feet 9 inches; width 
of base, 3 feet. 
(Illustrated) 


4 i e 


SIXTEENTH CENTURY ITALIAN GILT WALNUT SYNAGOGUE 
CABINET 


Rectangular shape, with two fluted Corinthian pilasters sup- 
porting a frieze decorated with carved floral scrollings and a 
deep molded cornice. Above is an elaborately pierced and 
carved pediment of a boldly scrolled design terminating in a 
crown form and flanked by two large “flames” in vases. The 
body is arranged in four cupboards with hinged doors having 
lozenge-shaped panels. Molded and paneled base. The con- 
temporary iron locks are fitted with wrought-iron keys. ‘The 
carvings and moldings are gilded. 


Height, 9 feet 6 inches; width, 5 feet 3 inches; depth, 2 feet 2 inches. 
Note: This was an Ark in which the Scrolls of the Law were kept. 


The Hebrew inscriptions are: “The Crown of the Law” and “Prepare 
to meet thy God.” 


CHOIR-BOOK 


if t ‘ hy - 
- a we er be Oe yt wz 


4 oe a 
TnAnr “VTA rR eee 


321—SEVENTEENTH CENTURY ITALIAN WALNUT SETTER 


yf 


High back, with molded cornice and frieze, carved in a guilloche 
design, and supported by three pilasters, one in the center and 
one at each end. Between these are two groups of four turned 
balusters. The seat has a molded edge and is splayed at one 
end in an obtuse angle. Supported on three front legs. 


Height, 4 feet 2 inches; length, 8 feet. 


FIFTEENTH CrentTurRY IranIAN PAINTED AND CARVED SYNA- 


f 


GOGUE CABINET ™m ve ple. , Te ee 


Rectangular shape in two horizontal divisions. The upper por- 
tion, having a break front, is divided into four cupboards, with 
hinged doors, by seven pilasters of the Composite order, the 
shafts fluted and astragalled, the capitals carved and the bases 
molded. The cupboard doors are divided by molded stiles into 
three panels, the large central panel in each case being deco- 
rated with a painted arabesque patterning upon a gilt ground, 
while the inner sides of the doors are fitted with sliding panels 
decorated with Hebrew inscriptions in gold on red grounds. 


The lower portion is similarly divided into four cupboards by 


paneled pilasters upon paneled pedestals. The hinged doors 
have single molded panels and are decorated with painted ara- 
besques on blue grounds, the moldings of the pedestal being 
gilded. Ona molded base. The sides are paneled and decorated 
in a similar manner to the front. This cabinet came from the 
Synagogue of Urbino. 


Height, 7 feet 10 inches; length, 9 feet 2 inches; depth, 2 feet 
10 inches. 
(Illustrated) 


Note: This was the Ark in which the Scrolls of the Law were kept. 
The Hebrew inscriptions mainly consist of passages from the Psalms and 
other Biblical quotations, including the Ten Commandments. There is 
also an inscription denoting that this Ark was the gift of the “people” 
of Urbino (actually it was presented by the Duke of Urbino), and 
another giving the Hebrew dating of 5211, corresponding to the year 
1451 A.D. 


ED SYNAGOGUE 


y 


p Cary 


AN 


NTED 


AN Pat 


al 


y Irar 


ENTUR 


Earby SIXTEENTH C 


322 


CABINET 


a) 


/ 


Ard Sinnamon 
323—F IrTEENTH CENTURY FLORENTINE INLAID Watsut MARRIAGE 
CHEST 

Rectangular shape, with hinged lid. The front is divided into 
two molded panels occupied with an elaborate inlay in light- 
colored woods in a subject of a Renaissance church front 
surrounded by fifteenth century houses. The panels are sur- 
rounded by a broad band of inlay of a floral design and nar- 
rower bands of geometrical patterning. The ends are paneled 
in a lozenge form and inlaid in geometrical and floral designs. 
The domed lid is molded and bordered with bands of inlay of 


geometrical patterning. The chest stands on a molded base. 
Height, 8 feet 6 inches; length, 6 feet 7 inches; depth, 2 feet 4 inches. 
(Illustrated) 


LSHH() ADVINUVIY, LONIVAA GIWIN]T ANIINGYOTY AYIINGAS) HINGALATY “CE “ON 


/) 4 / 
(Arve: Qs oe cee 


324—SIXTEENTH CENTURY SIENESE [NLA Watnut BEencH 
Rectangular shape. Straight back and arms with molded cornice 
and shallow inlaid frieze. The back has one long panel and 
the arms have also single panels on their inner surfaces, these 
panels bemg surrounded by bands of inlay of a scrolled ribbon 
pattern. The seat is arranged as a box with the top having an 
inlaid edge and being hinged to serve as a lid, while the seat 
front has one long molded panel surrounded by a border of 
lozenge pattern inlay. The fronts of the arms are of pedestal 
form with single molded panels of guilloche patterned carving 
surrounded by bands of inlay and the base is molded. On a 
platform sub-base. Molded and with an inlaid plinth. 


Height, 2 feet 9 inches; length, 8 feet 5 inches. 


(Illustrated) 


Ve ng onan 


825—SIxTEENTH CENTURY FLorenTINE WaLNuT BEencH 
Rectangular shape. Straight back and arms with molded cor- 
nice and frieze inlaid with colored woods in a design of geo- 
metrical interlacements. Both back and arms are divided into 
molded panels surrounded by bands of inlay of a lozenged pat- 
tern. ‘The seat is arranged as a box with a molded top hinged 
so as to serve as a lid. There is an inlaid apron, and the front, 
curving inwards, is paneled and inlaid. The fronts of the arms 
are carved with winged women’s busts and with bold volutings, 
and below are broken into pedestals with molded panels oc- 
cupied by carved scrolled oval escutcheons. On a high molded 
and inlaid platform base, with chamfered angles. 


Height, 3 feet 2 inches; length, 8 feet 9 inches. 
(Illustrated) 


No. 324. SrxTEENTH CENTURY SIENESE INLAID Watnut Brencu 


No. 325. SixTEENTH CENTURY FLORENTINE Watnut BENCH 


C (3 

THY IV MA PAO 
326—Firrrentao Century FLorentine Inia WaLnut CABINET 
Oblong shape. Finished on all four sides and standing on a 
platform base with molded and carved sides. The two sides are 
respectively divided into ten panels, the ends into four, by 
molded stiles inlaid with designs of interlaced lines in light- 
colored woods. The panels are surrounded by bands of inlay 
in Greek fret and checker patternings and the upper panels 
at the extreme ends of the front are inlaid with floral scrollings 
and the arms of the De la Bella family. The top, with a molded 
cornice, is inlaid with the same coat-of-arms. 


Height, 3 feet 4 mches; length, 8 feet 9 inches; depth, 3 feet 4 inches. 
(Illustrated) 


LANIGV() LANTIVAA GIWIN] ANILNAUOTY AYAINGAD HINADLALT ‘9ze ‘ON 


327—SIXTEENTH CENTURY ITALIAN Git Four-post BED 


The lower portions of the four tapering turned posts are carved 
with winged Amorini dancing and playing, the upper portions 
enriched with spiral turnings. The high head-board is divided 
into four open panels by five pilasters against which stand angels 
playing musical instruments carved in high relief. Above is a 
frieze of carved shells separated by cherubim heads, and the 
whole is surmounted by a pierced and carved cresting of floral 
scrolls supporting an oval medallion carved with a subject of the 
Annunciation. The hangings are of contemporary wine-colored 
velvet bordered with gold braid and fringe. The coverlet is of 
old red silk damask. The woodwork is entirely gilt and has a 
fine patina. 


Height, 8 feet 6 inches; length, 7 feet; width, 6 feet 214% inches. 


From the Castle of the Duke Verzuolo. 


328—SIXTEENTH CrentTuRY FLorENTINE CHaNnceL STALis 


Rectangular shape. Divided into four divisions by five semi- 
detached Corinthian pilasters supporting on acanthus-leaf 
carved modillions an overhanging frieze and a molded and 
dentelled cornice. The spaces between the pilasters are treated 
as sunken panels surrounded by an egg and dart molding, the 
surfaces divided into smaller panels by reeded stiles; the centers 
are surrounded by raised and carved moldings. Below, the 
paneled pedestals of the pilasters project, dividing the back of 
the seat into four spaces occupied with panels having raised 
moldings. The seat is arranged as four bases, each having a 
hinged lid with molded edge, and the seat itself is of sarcophagus 
form with incurving front and sides divided by fine fluted 
pilasters into four divisions occupied by oblong molded panels 
with lozenge-shaped centers, and the base is molded. On a 
molded platform sub-base. 


Height, 9 feet 10 inches; length, 14 feet 5 inches. 


, 


399—FirreeENtH Century UmBrian WALNUT LiprAary BooKCAsE 


Rectangular shape, in three horizontal divisions. ‘The upper 
portion is fitted as a bookcase with six hinged four-panel doors 


-_ with inlaid stiles enclosing wrought-iron grilles of a quatrefoil 


and lozenge design. ‘The middle portion is fitted with four cup- 
boards and six drawers, having molded and paneled fronts to 
correspond, with inlaid stiles. The lower portion projects for- 
ward and is divided into cupboards with nine hinged double- 
paneled doors, the sunken panels surrounded by fine moldings 
and carved beaded fillets. The strap hinges are of wrought iron 
with incised ornamentation. On plain chamfered base. 


Height, 94% feet; length, 13 feet 10 inches; depth, 3 feet 1 inch. 


(Illustrated ) 


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330—SIXTEENTH CENTURY BOoLOGNESE WaLNUT TABLE ( 


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Oblong top of plain board, with carved fluted molding beneath. 
On two lyre-shaped legs, carved with bold volutes and scrolls 
on both sides, the edges carved with large imbrications and the 
feet formed as large lions’ paws. There is a massive longitudinal 
brace with molded terminations keyed into the legs at each end. 


Height, 2 feet 7 inches; length, 8 feet 5 inches; width, 3 feet 3 inches. 


THE DAVANZATI PALACE 


(From “Les Arts,’ Paris, A ugust, 1911) 


Even in our own day, we can live again an age now past, we 
can still enjoy the poetry of an older civilization, discover in the 
recesses of our own being memories of a time long since vanished, 
memories slumbering, hidden beneath the commonplaces of a worka- 
day world. 

We can still penetrate to the heart of the Italian Renaissance, 
seek out its very beginnings; forgotten memories can thrill us to the 
depths of our souls; about us and in us, we can resurrect a world full 
of life, of feeling, and emotions, a world of long ago and passed from 
our view. : 

What joy to escape for a few hours from the monotony and 
coarseness of our modern life; and having once entered the enchanted 
sphere of the most beautiful Renaissance, what happiness comes to 
us in listening to the music of the past, telling of life with its joys 
and its sorrows, of the splendor of its feasts and the sadness of its 
woes, of the gorgeousness of its public manifestations and the sim- 
plicity of its life in the home circle. | 

The private life of a rich and noble family of the Quattrocento 
(15th century) has far greater attraction for us than the grandeur of 
a lordly court of the Renaissance. Instead of looking upon a scene 
of flashing and constantly changing colors, instead of an ostentatious 
pageant moving to and fro, and always very much the same, instead 
of magnificent feasts which surpass our power of imagination in their 
splendor, we find ourselves in the intimacy of a private family. The 
family is one of the highest placed in the Florentine Renaissance 
period, but one which strongly appeals to us by its manner of living, 
its customs and its tastes. It is a family typical of many in Italy 
during the Renaissance; one of those families which has inscribed its 
name in letters of gold in the glorious annals of the fourteenth cen- 
tury. We can enter this home and participate in its daily doings, 
share its life. Is it a miracle or is it a dream? 

We have been taking part in Italy, during recent years, in an 
awakening of the artistic and historical sense and taste, which we 


cannot follow and observe too closely; for this revival of interest has 
already brought forth good fruit, and has led to most valuable results. 

For too long a time we seem to have justified ourselves in de- 
ploring the lack of initiative on the part of the government and of 
individuals, not to be surprised and greatly rejoiced at the changes 
brought about as a result of this revival. And so, all those who had 
become accustomed to blaming the indolence of officials and the 
wealthy possessors of masterpieces, have had to renounce their cus- 
tomary pessimism and have been forced to admit that serious and 
methodical work has been begun for the protection and conservation 
of our artistic inheritance. 

Thus it came about that the Italian Government, shaking off its 
apathy, undertook a series of works, investigations, excavations and 
restorations worthy of the highest praise. The great excavations of 
the Roman Forum and of the Palatine, the purchase of the Borghese 
Gallery, of the early-inherited antiquities of the Barberini family, the 
restorations, but lately begun, of the Baths of Diocletian, and of the 
Coliseum (which will soon be undertaken) —all this shows the desire, 
a little tardy, to be sure, on the part of the Government, to pursue 
energetically its noble enterprise and to fulfil a duty too long un- 
recognized and forgotten. Individuals have followed this fine ex- 
ample, and we have seen, with both emotion and pride, Baron Baracco 
present to the city of Rome his magnificent and truly unique col- 
lection of ancient sculptures; Mr. Stibbert bequeathing his collection 
of arms and ancient armor to Florence; Baron Franchetti his precious 
collection of fabrics; and Mr. Avondo the beautiful chateau of 
Issogne. 

While, on the other hand, nearly all the Italian galleries were 
arranging their treasures in a manner more worthy of them, the work 
of transforming the Palazzo Vecchio in Florence was being efficiently 
carried out. The municipal offices, which occupied so much room 
in the glorious and magnificent palace, were moved elsewhere and 
gradually the superb apartments were rebuilt and restored to their 
former splendor. 

It was under these circumstances that we were enabled to dis- 
cover the admirable studio of Francis I, and it is thanks to this 
initiatory step that we could admire in their harmonious setting the 
splendid apartments of the famous palace, in each room of which some 
page of Florentine history has been written. Besides this grand and 
magnificent restoration, another one has been undertaken on a seem- 


ingly more modest scale, but even more inter esting in that it is more 
complete and more suggestive, developing an interest more general 
and personal in its appeal. This undertaking merits our commenda- 
tion all the more, because it is a task that has been undertaken neither 
by the State nor by the inhabitants of the town, but by a private indi- 
vidual who wished to restore to its former splendor, at his own expense, 
a historical palace of Florence, the palace of the Davanzati family, 
bringing to his task all the talent and love of the work that i inspires 
an amateur of taste and refinement. 


The Davanzati palace is situated in one of the quarters of Flor- 
ence most renowned in history, in the via Porta Rossa, where a 
great number of the oldest houses of the town used to stand. The 
via Porta Rossa was included in the first enclosure of the medieval 
walls of Florence, and early became one of the most important streets 
of the Borgo quarter, because of the great and beautiful edifices it 
contained. Indeed, there dwelt in this very street the families of the 
Ardinghelli, Soldanieri, Davanzati, Monaldi, Bostichi, Cosi, Bensi, 
Foresi, Davizzi, Bartolini, Cocchi, Cambi del Nero, Arnoldi and many 
others, who, with their palaces, their towered houses or their more 
modest domiciles, made it one of the most beautiful and richest streets 
of the town. To-day it is with the utmost difficulty that one can find 
traces of its former splendor. In spite of the ravages of time the 
street retained, up to the present time, its medieval appearance; but 
the reconstruction of the center of Florence, with the demolition that 
was found necessary, destroyed in a few months all the beauty which 
it had taken centuries to build up, and which the ages had faithfully 
preserved for us. 

And so, we have seen demolished, with a nee of sadness, and, 
alas! in spite of useless protests, the Bostichi tower, opposite the 
Loggia of the Marketplace; the Cosi tower, the Cocchi-Campagni 
palace, the old and beautiful Davanzati palace, the Adimari, and Ala- 
maneschi and Cavicciuli towers, the palaces of the Bisdomini, Adimari, 
Bonaccorsi, Macci, Abatti—the Neghittosa Loggia—the churches of 
Sainte-Marie Nipotescosa and St. Bartolo al Corso, and many other 
buildings of the same period, which still preserved the strong and 
gracious forms of the Middle Ages and the Renaissance and the beau- 
tiful coloring given to the masonry by the lapse of time. With rela- 
tively few simple changes, the beauty of these palaces and houses 
might have been preserved, and to the old street might have been 


restored its ancient physiognomy in all its beauty, color and propor- 
tion. Unfortunately, such has not been the case, and the wreckers 
have accomplished their task. Very few buildings have been respected ; 
for instance, the Foresi tower; that of the Monaldi family, above the 
beautiful Torrigiani palace, built by Baccio d’Agnolo for the Bartolini 
family, and the old Davizzi palace, better known as the Davanzati pal- 
ace, which still shows its ancient and wondrous beauty. 

In the thirteenth century a number of houses belonging to the 
Davizzi family occupied the spot where the Davanzati palace is now 
situated. This family, like many other noble families of that period, 
possessed a group of houses in which dwelt the members of the various 
branches of the family. They formed in the town little islands, sepa- 
rated by streets and alleys, but which could become as a single strong- 
hold when the occasion so demanded. It is on the site of some of these 
houses that the palace of which we are speaking was erected. <Ac- 
cording to the custom of the time, it was completely separated from 
the other houses, on the side of the facade, by the via Porta Rossa; 
the back, by the Capascio or Capaccio lane; and on the two sides, by 
two little streets which separated it from the homes of the Cambi del 
Nero and the Del Bene families. 

The palace, which was the joint property of the various branches 
of the family, did not remain very long in the hands of the Davizzi. 
The ancient documents which were found by Mr. Poggi, and pub- 
lished in an interesting pamphlet on the Davanzati palace, closely 
follow the history of the palace. 

From these documents we gather that on December 8, 1424, 
Andrea de Dominique de Gerard Davizzi gave to his uncle John, son 
of the late Gerard, “one half of the palace, not subject to being sold.” 
Shortly afterward, in 1427, the palace was equally divided between 
Antoine de Dominique and Pala Davizzi, and in 1469 it belonged 
entirely to Laurent de Jean Davizzi, who was still proprietor in 1498. 

But the wealth and greatness of the Davizzi family did not last 
very long. In 1516 Pierre de Francois Davizzi sold the old family 
palace to Mr. Onufre de Leonard de Zanobi Bartolini. It remained 
but a short time in the possession of the new proprietor, for it became 
the property of Bernardo Davanzati in 1576. For a few centuries the 
palace remained in the possession of the Davanzati family, who gave 
their name to it, though the owners were soon forgotten. It is 
true, however, that the family soon died out, for in 1623 Ludovie de 
Pierre Francois, the last descendant of this historic family, passed 


away. Nevertheless the Davanzati deserved to bequeath their name 
to the beautiful palace, for with them began a wonderful era of 
splendor in the ancient structure. 

The Davanzati family was one of the noblest and most honorable 
of Florence and the history of the city is closely associated with that 
of its members, for it gave to the Republic a great many magistrates, 
eleven gonfaloniers, forty-four priors and other notables. 

The first owner of the palace, Bernard Davanzati, was himself a 
most eminent citizen of Florence. A famous historian, author of the 
history of the great schism in England and a translator of Tacitus, 
he left a name conspicuous in the history of Italian literature. His 
descendants kept the name famous from generation to generation 
in the political and military world, until the year 1838, when the 
family died out with Charles de Joseph, who hurled himself from a 
window of the palace. 

Having been in the possession first of the Davizzi, then of the 
Bartolini and then of the Davanzati, this ancient seigneurial dwelling 
for more than four centuries shared in the life of Florence; indeed, 
the history of the palace is not that of the city, but it forms, as it were, 
a commentary on it. It does not narrate to us wonderful events, but 
tells us, more modestly, of the intimate family life during a glorious 
era. We must let the old palace speak to us, we must know how to 
interpret, and listen attentively, to what it would say to those who 
ask of it an hour’s acquaintance. 

In the old via di Porta Rossa, which has undergone great changes 
through triumphant modernism, the beautiful facade of the Davanzati 
palace alone evoked a whole heroic and sumptuous period, far from 
us in reality, but near to us in spirit. Yet those who wished, having 
forgotten the movement and noises of the modern street and after 
having admired the magnificent facade, to obtain, by seeing the interior 
of the palace, a confirmation of the fine artistic emotions aroused in 
them by a view of the exterior, remained sadly disappointed. Only 
a few years ago this admirable structure, a superb page in the history 
of Florentine architecture, hid all the profanations possible behind 
the beautiful facade. Nothing was recognizable in the interior. The 
great court, the large store-rooms, the beautiful staircase, all were 
hidden, disguised and changed in every way. Neither the original out- 
lines of the structure nor its dimensions nor its form could be dis- 
tinguished. 

This desecration lasted for some time, until an enthusiastic and 


rich antiquary of Florence, Mr. Volpi, bought the house and cour- 
ageously undertook the task of restoring it. By five years of constant 
work, animated by the noblest enthusiasm, he cleared the palace of 
all its misplaced additions and of all the changes which had robbed 
it of its beauty by being entirely out of harmony. From the founda- 
tion to the very top of the building everything was done to find hidden 
memorials of the old structure, and to bring out and restore all 
those portions which had been so long disfigured. Entire frescoes, 
fragments of paintings, details of decorations of every sort, gradually 
appeared in their original beauty until the palace began to look as 
of old, decked in all its grace and splendor. ‘To-day it recalls to 
mind the most wonderful period of the Florentine Renaissance. 

The facade itself, that grand and solemn facade which provokes 
such great admiration, was set up again in its original state. A num- 
ber of windows on each floor had either been walled up or had lost 
their shape and proportions; their former aspect was restored. Either 
the round windows were put in, or the lozenge-molding repaired, just 
as everything had been formerly, and even these small details play 
their part in giving a harmonious look to the edifice. 

The facade, as far as the first story, is built of embossed stone, — 
of plain stone up to the second and, above the loggia, it is finished in 
brick. Three elliptical-arched doorways open on the street and on 
these three arches rests the whole building. The three stories, with 
their five windows, rise rapidly one above the other, well separated 
and resembling tower construction; but the handsome loggia at the 
top, open to the air and the sun, crowns the severe and threatening 
looking structure with grace and elegance. The fortress becomes a 
palace of joy and happiness; and that, because of a small detail which 
places its seal upon it, and which must not be overlooked. Alongside 
of each window are the old iron rods to support the wooden bars on 
which were hung fabrics or tapestries upon festive occasions, and 
silken cloths, especially, were there hung out to dry. 

Here is one detail, among many others, which recalls to mind the 
family simplicity that was linked to the magnificence of the Renais- 
sance. These irons, very common in ancient palaces, are a living 
reminder of the old silk industry, Arte della Seta, which was com- 
mon in Florence, and especially in this quarter of the Porta Rossa. 
It was here, in fact, that the majority of silk manufacturers and silk 
merchants lived, and it was the Porta Rossa that provided the store- 
houses for the Arte della Seta. Downstairs, next to the three doors, 


are the cramp-hooks to which the horses were attached, and to the 
extreme right of the palace, on a small post in the corner of the 
alley, is the lantern of wrought iron, while up above, alongside 
the windows, there are other hooks to support flags or torches. Thus 
the facade itself becomes rejuvenated and seems prepared to wel- 
come its guests, to be decked in holiday attire, to share in some 
family or civic celebration. 

Above the first story, crowning the central window of the second, 
is the Davanzati coat-of-arms,* a piece of sculptured work that was 
for a long time ascribed to Donatello. Every guide-book of Florence 
persists in making this statement, even though the heavy and massive 
carving at first sight seems to belong to the end of the sixteenth cen- 
tury, and that during Donatello’s time the Davanzati family had no 
connection with the palace. Now, the facade gives us its greeting with 
its ancient look and prepares us for that wonderful evocation of the 
past which we have come to ask of the palace. The promise held out 
to us will be redeemed. 


We have hardly set foot in the vestibule, when we are struck by 
the medieval aspect of the edifice. The stone walls covered over 
with the sombre tints of time and the brick floor still look as they 
did formerly. But another suggestive detail, characteristic of the 
early Renaissance, strengthens our first impression and enriches our 
fancy and imagination. In the vault of the vestibule, corresponding 
to the four doors, still can be seen the openings through which pro- 
jectiles of all kinds were hurled against invaders of the palace. This 
mediaeval mode of defense in a city dwelling is not without its signifi- 
cance and suggestion. 

This fortress-palace is full of unexpected and surprising details. 
The fact that this house should at one and the same time bear the 
marks of a sumptuous lordly castle and of a fortress ready for the 
enemy’s attacks is not the least of its attractions. But all thought of 
war and strife is quickly dispelled when we enter the beautiful court, 
and when we mount the elegant stairway to the apartments on the 
different floors. The court, big and well proportioned, recalls, in the 
simplicity of its great lines, the most beautiful constructive design of 
Arnolfo. 

It is an example, peerless in harmony and grace, an architectural 
gem that cannot be too greatly admired. Five octagonal columns sup- 
port the stairs and the alcoves of the court. The decorations of the 


* Reproduced on the cover of this catalogue of the Davanzati Palace Collection. 


capitals vary, one of them, the corner column, being adorned with 
heads of men, women and boys, portraits of members of the Davizzi 
family. These portraits and a few coats-of-arms of the Davizzi and 
the Davanzati recall the two families whose names are associated with 
the beautiful palace. We might be tempted to consider these little 
portraits as serving a decorative purpose, little fanciful heads from 
the sculptor’s imagination or a little innocent vanity on the part of the 
owner of the palace; but not at all, these lovely heads, the strong 
profiles of the Davizzi, remain with us in memory. They are fixed 
in our minds, they accompany us during the whole of our visit through 
the palace. They live again in the deserted rooms, they speak to us 
of their own day, of their lives and of themselves; they make us feel 
the poetry of the past—of a very distant past. 

Here is the profile of an energetic Florentine with his bonnet 
glued to his forehead, from under which two thick locks of hair 
escape; there, a young girl, delicate, pretty, with a dreamy look; and 
here again a weary-looking old man, with a long white beard; and in 
another place a boy, young and robust, a buxom woman, another 
young girl, and yet more heads and more profiles. They accompany 
us through the rooms, not astonished at waking up, since they find 
the palace just as they knew it in days gone by. 

The old man with difficulty climbs the stairs, complaining some- 
what of his age, and then he recalls to mind his youth and the happy 
days during which he lived; the man of middle age tells us of his 
wonderful estates at Cacherelli, at Calcheri, at Santa Maria, at An- 
tella, at Fucecchio and at Cappiano. He speaks of what he is cul- 
tivating, of his vineyards, of his hopes and his fears of a poor harvest, 
remarks on the little town talk of his day and tells us of a few serious 
events and happenings. A few names that we know well slip in as 
he talks on. Of whom and of what is he speaking? of Dante Alighieri! 
of Boccaccio? of Petrarch? of the Duke of Athens? of the revolt of 
the Ciompi? The young girl passes us by rapidly, going from one 
room to another, up to the loggia on the top floor; she signals to a 
neighboring palace. Such is the eternal law of life. 

In the meantime, let us continue our visit. A whole series of 
rooms stretches out before us; drawing-rooms, private rooms and 
reception-rooms, which have been most skilfully refurnished with old 
furniture of fine design and rare taste. It is easy to picture what the 
private life of the Davizzi and Davanzati families must have been 
in such an environment. We can share in the family life of a Floren- 


tine family during the early Renaissance and during the period of 
the glorious fourteenth century. The stories of the old Italian writers, 
of Boccaccio and of Bandello, the meagre details of certain historical 
documents, grow more complete, live again, become a picture full of 
action and of life. How many small details there are here which must 
not be overlooked! Once again these little things acquaint us with 
facts far better than any documents, that are so hard to interpret 
aright. 

Opposite the staircase landing, on the first floor, one sees, before 
entering the apartment, a fresco representing “Saint Christopher with 
the Child Jesus.” The popular and traditional image of Saint Chris- 
topher, which was in every Italian home, could not be lacking in this 
lordly dwelling. Saint Christopher was the most intimately known 
of all the saints; he was looked upon as the bearer of blessings. More- 
over, a picture of him was always placed at the main doorway of 
every home. ‘The reminders of the grandeur and the wealth of the 
Davizzi and Davanzati families formed neither a contradiction nor 
a contrast to the frank testimony of their naive faith. 

Then follows a series of splendid rooms: the grand salon, which 
occupies the whole width of the fagade with its five windows, has been 
reconstructed in all its splendor, with its beautiful ceiling of gilt wood, 
ornamented with the armorial bearings of the Davizzi. In the middle 
of the wall, facing the windows, is a beautiful chimney-piece, the 
border of which, carved in putti, is ascribed to Michelozzo. From this 
great salle, we pass on to another, “The Parrot Room,” so called from 
the great number of parrots which embellish the walls. This wall 
decoration is in imitation of a fabric which, fastened to the wall by 
bell-shaped hooks, seems to fall im festoons to the floor and around 
a handsome chimney of the fourteenth century; while below the ceiling 
there is an arrangement of small arches, a frieze of trees and vases with 
flowers and birds, separated by slender columns. 

Another room, “The Peacock Room,” completes the suite de luxe 
on the first floor. It, too, is ornamented by a painted imitation of 
fabric, covering the walls with geometric designs, and near the two 
doors surrounds a bed of roses, lending in all an appearance of sur- 
passing elegance to this beautiful room. Above this fabric, in a 
series of Gothic arches, trees and peacocks are portrayed, with a 
series of armorial bearings which doubtless represent the families 
related to the Davizzi. 

Next to these main rooms, the magnificence of which enables us 


tiful than the other ones, handsomely painted tabernacles and a very 
rare hand-basin of the Renaissance period. Nothing is dead, nothing 
is too distant from us. But here, on one of the partitions, are some 
inscriptions written in charcoal: 
A di 15 luglio 15038 
Vene a Florenz il Cardenale de...... Sodarino. 
(July 15, 1508. Cardinal Sodarini came to Florence.) 


And again: 
1478 
A di 26 @aprile 
Fu morto Giuliano de Medict 
in Santa Maria del Fiore. 


* (April 26, 1478. Julien de Medicis was killed at Santa Maria del Fiore.) 


Was it only yesterday? In this spot, alive with phantoms, the 
remembrance of the past has a touch of the tragic in it, which speaks 
out in eloquent and forcible tones. The memory of that tragedy 
carries us away from the house, beyond the family privacy, to the 
tumult of the street; from the rest and peace of the quiet dwelling, to 
a tumult of political and commercial agitation. 

This city of Florence is a poem in historical records. Even dur- 
ing the period of political and religious disturbances, letters, arts and 
civilization flourished marvelously. It is again a delightful surprise 
to be able to keep pace with the political and social events of the 
time together with the conquests made in the world of art and letters. 
This palace, which speaks to us of the translator of Tacitus and of 
the death of Julien de Medicis, a wonderful artistic production in 
itself, reveals to us the family life of rich people, acquaints us with 
the foundations upon which were built the wealth and greatness of 
Florence, and the spirit which pervaded it all. Doubtless, many de- 
tails of Florentine home life are obtained from ancient documents 
and from historical writers, but to really understand life at this period 
of the Renaissance, to penetrate to the very depths of the souls of 
these people and this age, nothing is equal to finding ourselves in 
the places where these people spent their lives. 

We are told of the simple lives led by the people of the Trecento 
(14th century), of the small houses, most of them built of wood with 
thatched roofs, unpaved streets through which water continually ran 
down, through the gutters, dirty interiors, which were cleaned but 


* A rare medal commemorating this event is included in the sale of the Davanzati Palace 
Collection. 


once a week, on Saturday; of people spending their time hunting, if 
they came from good stock, or absorbed in commerce; and of others 
bent on making more and more money, if they belonged to the newer 
families. We are told of continual warring with the neighboring: 
towns, and of the hard-won victories, after which the merchants would 
hasten to the conquered places—a new way to show their triumph— 
leading their mules, borne down with fabrics from Calimala and 
silks from the Por Santa Maria. In this manner—through these 
industries and this trading—the town rapidly grew rich. Naturally, 
with the advent of wealth, all simple and temperate living disappeared ; 
luxury replaced it and asserted itself as master. 

The great fortunes, accumulated more or less honestly (the old 
writers and numerous documents make frequent mention of the tricks 
used in the commercial world), were fortunately in good hands, which 
knew how to spend them to show their power and their good taste. 
How deeply indebted, indeed, is Florentine architecture to these rich 
merchants! 

With the splendor of the new homes, what luxury transformed 
the old life! The women, subjected to their husbands’ tyranny, not 
even knowing how to read in many cases, occupied with their, simple 
household duties, in which they were assisted by rough and uncouth 
slaves, had no other mission in life than to give birth to a numerous 
posterity, so that they might number their married years by the num- 
ber of children growing up around them. This life ruined them, and 
their beauty quickly faded away; no wonder, then, that they sum- 
moned art to the aid of nature. The custom was so common and 
the art so perfect, that even a painter like Taddeo Gaddi acknow]l- 
edged that the Florentine women were “the best painters in the 
world!” By such means, together with the richness and novelty of 
the fashions, they protected their fading beauty. Fashion, thanks 
to the rich varieties produced by the trades and industries, the desire 
for something ever new, and flashy and luxurious, had become wide- 
spread. What protests, what sarcastic allusions do we not find among 
the ancient writers and in many documents! for not only were the 
women possessed by it, but the men too, who were forever inventing 
new styles in dresses and coats and hoods. Considering the mental 
status of the women, it is easy to imagine to what excesses they were 
given in the matter of dress. Luxury and extravagance grew greater 
day by day, and although a series of sumptuary laws were passed, 
growing more and more strict, such measures proved of no avail. 


The frescoes of the Trecento and Quattrocento have preserved for 
us a number of these rich and elegant styles, and the old documents, 
too, enlighten us in this respect. 

Here is the description of a cloak belonging to Donna Francesca 
dei Albizzi, who must have been obliged to pay a very high tax on it 
to the sumptuary tax collector. “A cloak of black cloth, ornamented 
on a yellow background with birds, parrots, butterflies, pink and red 
roses and a few other red and green figures; dragons, letters and trees 
in yellow and black, and again other figures made of white cloth with 
red and black stripes.” 

But not only in fashions did luxury proclaim its reign, it dis- 
played itself on every occasion, from which came the necessity for 
passing other laws intended to regulate luxury and extravagance at 
all celebrations, at baptisms, banquets, marriages, funerals and other 
ceremonies. 

When a marriage was to take place, no more than two hundred 
guests could be invited, while the number of presents for the bride 
was prescribed by law; the cook, who prepared the wedding dinner, 
had to make known his menu to the town officer. For funerals, the 
number of tapers to be used was prescribed, and the grave-clothes 
and the suits to be worn by those following the procession were sub- 
ject to similar regulations. But all these laws, which helped to swell 
the municipal coffers by the taxes imposed, could not control the 
habits and tastes which had grown on the people. The simple and 
modest Florentines of the past were daily becoming rarer, the city 
was changing and so were its citizens. 

The soul of the Renaissance revealed and asserted itself in a very 
short time, love of country and family weakened, a passion for pleas- 
ure turned one away from the austere living of earlier days; unbelief, 
scepticism and sensualism manifested themselves and became general. 
It was the Renaissance announcing its coming and preparing the way 
for it. 

And so Florence steps out beyond her sphere. She is no longer 
the rich commercial town of Tuscany, the warring and industrial 
city of Central Italy; she is becoming rapidly and energetically the 
Italian city par excellence, the center from which spring the hardiest 
characters of the race, a representative city which expressed and cele- 
brated by its beauty a renewing of conscience and of intimate social 
lite: 


, : 
To this day, all the treasures amassed during two centuries are 


living testimonials of this bewitching city—palaces, churches, paint- 
ings, sculptures—but there are few palaces, like that of the Davanzati, 
which offer so strong, so intense and so complete an impression of 
the lives spent there, transporting us, while powerfully exciting our 
imagination and sensibility, to the most intimate intimacy of the 
Renaissance.—Art. JAHN Rvuscont. 


aoOOoTH LSaly—TIVH LVAUX) >GOWIVG IWLVZNVAVG 


THIRD AFTERNOON'S SALE 


THURSDAY, NOVEMBER 23, 1916 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 331 to 454a, inclusive 


331—SixteentH Century Iratian VeLver Coverep Corr 
Coffer in trunk-form, with rounded hinged lid. The coffer is 
“tv completely covered with old velvet patterned in green on a red 
ground, with false bands of strapping formed by brass-headed 
nails. There is a wrought-iron hasp, with a circular pierced 
wrought-iron lock-plate. 


Height, 2234 inches; length, 4 feet 114 inches; width, 1434 inches. 


C) u (3) ff 


Se ea) J Anrtekn. 
332—SIxXTEENTH CENTURY BOLOGNESE WALNUT TABLE 
Thick octagonal top resting upon a tripod support of three legs 
-. 2y “~ - shaped in profile and ending in lions’ paws. Fine patina. 


Height, 2 feet 7 inches; diameter, 4 feet 3 inches. 


B 
333—Firreentu Century [Iranian Watnut “TyRroLEAN” CHAIR 
> .-y¢ Shaped and richly carved back, with shaped and carved seat on 


three spreading square legs. : Yj 


334—FirreentoH Century IratiAN WaLnut ‘“TyrRoLEAN” CHAIR 


Shaped and richly carved back, with shaped and carved seat on 


three spreading square legs. 
COLT (ert 


335—FirreentH Century I[raniAN WaA.tnut “‘TyrRoLEAN” CHAIR(/ 


pd 


i 
Oy 
G 


Shaped back in the Swiss style, the edges carved with angels 
holding wreaths and supporting a crown, and with birds. ‘These 

O07 “— horders enclose a cross and flaming heart carved in relief. The 
molded and shaped seat is carved with rosettes and the three 
straight spreading legs are molded. 


CLt4% Gil 


3386— FIFTEENTH CENTURY ITALIAN Warnut “'T'YROLEAN CHAIR 

2 5-¢* Shaped and richly carved back, with shaped and carved seat on 
three spreading square legs. a 

of) ss ho. 
AS AA L UY 

337—LatTeE FIFTEENTH CENTURY ITALIAN WALNUT “DANTE” CHAIR 

a ,, Curved arm supports and legs, with carved rosette at the inter- 
/ section and scrolled arms. Old crimson velvet seat and back 

with silk fringe. Small velvet-covered cushion. 


ty 


338—Late Firreentu Century Iranian Watnut “DanTE” CuHarr 
/ ove = Curved arm supports and legs, with carved rosette at their 
intersections and scrolled arms. Old green velvet seat and back 

with silk fringe. Small velvet-covered cushion. 


Ln 


ty 
339—LaTE FIFTEENTH CENTURY ITALIAN WALNUT “DANTE” CHAIR 


Similar to the preceding. 


G7 Se 


ASV) NVIIVIT NI YOOT) DUNASDAW AUNLINAD HINADINAATS “CPE “ON 
YOUU LANIVAA LIM) GNV GHAUVD ANILNAUOTY AUALNAD HINAALXIG ATUVA “THE “ON 


AWVUY LONIVAA GIAUVY) NVOSAT, AUALINAD) HINATLXIG “OPE “ON 
I¥& 


imine 


s 


LEMEALEDTEEL OED ELE CORI TE STITT GONE ELE TEESE EETE 


lV dtrwne Reg- 

340—SIXTEENTH Century Tuscan Carvep WALNUT FRAME 
Tablet-shaped frame. The molded, carved and dentelled cor- 
) 7 6 2% nice, with shaped scrolled pediment carved with birds and a 
grotesque mask, and a fluted and rosetted frieze, is supported 
by two caryatides terminating in pointed-leaf shafts. Molded 
base, with carved and pierced apron of two dragons enclosing 
a scrolled cartouche. The oval oil-painting enclosed is of an 

Evangelist attended by an Angel. 


Height, 2934 inches; width, 15 inches. 
(Illustrated) 


341—Earty SIXTEENTH CENTURY FLORENTINE CARVED AND GILT 
Watnut Mirror Vo T- SF nyt ree Ge 
eS, Tablet-shaped. The molded and dentelled cornice, with a ereiled a 
» -=© ~~ pediment surmounted by a bird with outspread wings, and plain 
frieze, is supported by two fluted and astragalled Doric columns 
with a pierced and carved scrolled apron of dragons enclosing 
a shaped cartouche. The mirror is rectangular, with molded 

frame. Completely gilt. 
Height, 3145 inches; width, 1534 inches. 


72 


(Illustrated) 
eM of Lamar leg etre 

342—SEVENTEENTH CENTURY AUGSBURG Gote IN [rantan Case 
Rectangular shape. In case of ebonized and gilded wood, with 
molded cornice supported on spirally turned columns with 
6 vd “ molded base, the plinth fitted with a drawer, on four gilded 
cushion feet. At the sides are carved and gilded voluted 
brackets with festoons of flowers. The dial plate is of engraved 
and gilded brass, the dial ring silvered. 'There is a single hand 
and a bob-pendulum swinging in front of the dial. Engraved: 

“Georg Braun . Augusto.” 


( 


Height, 1 foot 5 inches; width, 1 foot 31% inches. 
(Illustrated) 


343—FIrrEENTH CENTURY SIENESE “MIRROR OF THE SouL”’ 


/ 


Octagonal frame, with pointed oblong hanging piece enclosing a 
circular tempera painting of “St. Catherine.” The frame has 
an outer border of ebony and other woods in a geometrical 
inlay, and an inner broad band of ivory carved in low relief with 
figures of winged angels, of whom two in the upper portion hold 
shields painted with a monogram and a coat-of-arms. The cir- 
cular painting is surrounded by an octagonal border of inlay. 


Height, 141% inches; width, 9Y2 inches. 


Note: These “Mirrors of the Soul,” containing paintings of Saints in 
place of a mirror, were presented to young maidens under the protection 
of the particular Saint depicted. 


Davanzati Patack: THe Peacock Room—Firsr FL oor 


uOOTY LSaly—Wooy MOOOVAG AO UANUOL) -AOWIVG ILVZNVAV(] 


344—SIXTEENTH CENTURY SIENESE CarveD WaALNuT BowL-HOLDER, 

Tripod support to hold glass bowl formed of three nude boys 

a5 Jd ‘+ Seated on a triangular shelf with fluted legs and supporting the 
bowl with their heads. 'Their bodies terminate in carved and 

voluted supports connected below by a triangular shelf with 


aprons carved in scrolls. 
Height, 2 feet 10 inches. 


345—FIFTEENTH CENTURY ITALIAN INLAI W ALNUT SMALL Crest 


~ / a ae 
/ New 


Rectangular shape, with hinged lid and bracket feet. Entirely 
inlaid with ivory and colored woods in what is known as “certo- 
sino” work. The patterning is of geometrical designs, with 
lozenged and circular shaped medallions, the front with an 
oblong panel surrounded by a wide border, the top with a 
square central panel inlaid as a chessboard and surrounded by 
circular medallions. 


Height, 14 inches; width, 34 inches; depth, 201% inches. 


OTR (Servite ie ae 
346—SixrnentH Cenrury [ranian Wa.nut Prir-preu 
Rectangular shape. The desk, with flat molded corniced tdp 
7g and paneled and carved frieze, is flanked by two caryatid female 
figures ending in scrolled cartouche and festooned drapery, 
and has a paneled and richly carved front. The kneeling plat- 
form is molded and the plinth is carved with acanthus-leaf 
scrollings. 


Height, 2 feet 9 inches; width, 2 feet 514 inches; depth, 2 feet 
314 inches. 


347—Srxteentu Century ITALIAN WALNUT “SAVONAROLA” CHAIR 


| Curved sides and legs formed of nine square interlacing supports 
/S “= pivoted so as to fold. Straight and scrolled arms and base-rails 
and shaped back carved with foliage and an oval escutcheon 
occupied by the emblem of St. Francis of Assisi. 


Louia: Fearvranr bgert 


3848—SIXTEENTH CENTURY ITALIAN aE A Ae ‘SAVONAROLA” CHAIR” 


Curved sides and legs of twelve square interlacing supports 
pivoted so as to fold, with straight arms carved with acanthus 
leaves and ending in rosetted knobs. The shaped back is carved 
with a coat-of-arms and the initials “H. A.” 'The front supports 
and legs are carved with scrollings and the back rails end in 
lions’ paws. 


349—SIxTEENTH CENTURY ITALIAN We ARE Gane 
= 


s+. Similar to the preceding, but with initials MITES 


{ 
la 


b 
350—SIxXTEENTH CrenTurRY ITALIAN Watnur “SavonaroLa” CHAIR 
Curved sides and legs of nine square interlacing supports piv- 
Baan oe) oted so as to fold, and with straight scrolled arms carved with 
rosettes. Shaped back. 


TIN - \ MK 


351—SIXTEENTH CENTURY ITALIAN WaLnur “SAVONAROLA”’ CHAIR 
Curved sides and legs formed of eight square interlacing sup- 
A+ 2s “~ ports pivoted so as to fold. Straight scrolled arms and base- 
rails. Shaped back, richly carved with foliage and an oval 
coat-of-arms. 
ae Te A 
If Cee 44— x LAL. 


352—SIXTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” CHAIR 
, Curved sides and legs of light square interlacing supports 
oo pivoted so as to fold and with straight scrolled arms carved 
with rosettes. Shaped back. 
A (\ 
353—SIXTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” CHAIR 
age Curved sides and legs of seven square interlacing supports piv- 
“~—-o ~~ oted so as to fold. Straight arms and base-rails. 
vw (( 


3854—SIXTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA”” CHAIR 
Similar to the preceding. 


¥355—SixreentH Century Iranian Watnut “SayoNAROLA” 
CHAIR Fe an. Spee 

‘- Curved sides and legs formed of ten square interlacing supports 

pivoted so as to fold. The straight arms end in turned and 

carved balls and the shaped back is decorated with an incised 


shield and the initials “G. M.”’ 


me Aas 


6 h 
356—SixrrentH Century Trarran Watnut “SAvonaRoLa” CHAIR 
Curved sides and arms formed of fourteen interlacing square 
‘supports pivoted so as to fold. Straight arms, with turned and 
carved ball ends. Shaped back, carved with the coat-of-arms of 
the Lomberti family. Straight base-rails, ending in lions’ paws. 


Ww \ : 


Come 


357—SIxTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” CHAIR 
Similar to the preceding. 


— 


t. 


Ui A at a CA" 5 bike Og 

358—FIrTEENTH CENTURY ITALIAN Watnur “Dante” CHAIR 
Curved arm supports and legs with carved rosette at the inter- 
Te on section, acanthus-leaf carved and rosetted arms, the base-rails 
ending in lions’ paws. Seat and back in old red velvet, the 
back embroidered in silver cord with a diapered pattern of 
curved lines. Red silk fringe and velvet-covered costar 
xX 


Qe, Aw, Ute. 
359—FIrTEENTH CENTURY ITALIAN ARCs nee CHAIR 


Curved arm supports and legs with carved rosettes at the inter- 

-/¢@ °° — section, acanthus leaf carved and rosetted arms, and base-rails 

. ending in lions’ paws. Seat and back in old red velvet with red 
silk fringe. Velvet-covered cushion. 


360—SrixTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” CHAIR 
Curved sides and legs of ten interlacing square supports pivoted 
/5.. . 4» so as to fold. Straight arms, carved with acanthus leaves and 
: ? UL ending in carved rosetted knobs. The shaped back-rail is richly 
carved and molded with dolphin sides and a circular medallion 
with an oval coat-of-arms in the center. The front arm-supports 
and legs are carved with scrollings and profile masks and the 

base-rails end in lions’ paws. 3 


361—SIXTEENTH CENTURY Iranian BrECHWooD “SAVONAROLA”’ 
CHarr LL) AKIN. (~ 
nares Curved sides and legs formed of seven interlacing square sup- 
Ht ports pivoted so as to fold. The straight arms have an incised 
decoration and end in turned and rosetted balls, and the front 
legs are similarly treated. Shaped back. 


wooTyY LSaly—wooudag Vv ao YANO’) >HOVIVG ILVZNVAV(] 


wooTy ANOOYS—Woordidg :HOWIVG IWVZNVAV(, 


oe - 
OP ey Dodd. 


— 


*362—SIxTEENTH CenTurRY Iranian Watnut “Dante” CHarr 
Curved arm supports and legs, with turned rosette at the inter- 
section, acanthus-leaf carved arms and base-rail ending in lions’ 
paws. Seat and back in old green velvet, the back with coat-of- 
arms embroidered in gold and silver. Deep green and yellow 
lk fringe. 
SI Pew /, R 
TD pre rene, 
*363—SIXTEENTH CENTURY ITALIAN Watnut “Dante” CHAIR 
Curved arm supports and legs, with turned rosette at the inter- 
, ye section and acanthus-leaf carved arms. Seat and back in old 
as green velvet, the back with a coat-of-arms embroidered in gold 
and silk. Deep green silk fringe. 


364—Two SrxTEENTH CENTURY ITALIAN WALNUT CHAIRS 


365— 


ee 


— 


366— 


Sgabello character. Shaped backs, with scrolled sides enclosing 
a crowned shield carved with the coat-of-arms of the Albergotti 
family of Arezzo. Octagonal molded seat, and lyre-shaped 
front support carved with side scrollings and a large grotesque 


mask. 
(s “ \\ 


Two SixtTEENTH CENTURY IraLIAN WaLNuT CHAIRS 
Similar to the preceding. ae 

ao pve \. Ae, 
THREE SIXTEENTH Century Iratian WALNUT CHAIRS 
Sgabello character. Shaped backs, with scrolled sides enclosing 
a crowned shield carved with the coat-of-arms of the Albergotti 
family of Arezzo. Octagonal molded seat, and lyre-shaped front 
support carved with side scrollings and a large grotesque mask. 


—~ 


( 
WY M1" Me tg.. 


3867—SIXTEENTH CENTURY UMBRIAN WALNUT CHAIR 


Sgabello character. Shaped back, with scrolled sides enclosing 
a scrolled cartouche. Square seat, with rounded corners, a cir- 
cular molded depression and fluted edges. iyre-shaped front 
support, with sides carved as dolphins enclosing a scrolled car- 
touche, their voluted tails supporting a guilloche molded and 
rosetted frieze, their heads forming the feet. 


3 


368—T wo SIxTEENtH CENTURY ITALIAN BeEcHWwoQD MONASTERY 


CHAIRS A) mrAn—-teene Wri | 
7 90 — Formed of seven straight square intersecting rails pivoted so 


as to fold and with square seats. Shaped and carved back-rails, 


and carved upright splats. ; 
PPL h d Grbitr 


369—SIXxTEENTH CENTURY ITALIAN BeEcHWoop Monastery CHAIR 


Formed of square, straight intersecting rails pivoted so as to 
/ 30“ fold, shaped and carved back-rail and carved upright splats. 


(9 


370—SIxTEENTH CENTURY IraLian BeEcH Woop Monastery CHAIR 
Formed of square, straight intersecting rails pivoted so as to 
Lah tase fold, shaped and carved back-rail and carved upright splats. 


St 
Cy 
371—SIXTEENTH CrEntTuRY [ITALIAN BEECHWoop MonastTERY CHAIR 
PS Formed of square, straight intersecting rails pivoted so as to 


A) rol: shaped and carved back-rail and carved upright splats. 


a, 
Pn 


Onrntont (Sree. 
372—SIXTEENTH Century Iranian Breecuwoop Mon Xstery CHarr 
Formed of straight, square intersecting rails pivoted so as to 
247 ve fold, and with square seat. Shaped back-rail carved in relief 
with design of a star and carved splats. 


‘ 

3873—SIXTEENTH CENTURY IraLtaAN BeeEcHwoop Monastery CHarr 

I‘ormed of straight, square intersecting rails pivoted so as to 

7-7 =~ fold, and with square seat. Shaped back-rail decorated with 
flutings and carved rosettes and carved splats. 


I \\ 
374— FIFTEENTH CrentTurRY I[TaLiIANn WaLNutT “Dante” CuHair 
Curved arm supports and legs, with carved rosette at the inter- 
SY4¢¢d “% section. Scrolled arms, with carved rosette. Seat and back in 
old red velvet with red silk fringe and velvet-covered cushion. 
Ak \ 
375—SIXTEENTH CrEeNtTuRY ITaLIAN WaLNUT “Dante” CHa 
Curved arms supports and legs, with turned rosettes at the inter- 
577-7 — section and scrolled arms. Seat and back in old red velvet 
with red silk fringe and velvet-covered cushion. 
N h 
376—EaRLY SIXTEENTH CENTURY ITALIAN Wa.tnut “DANTE” 
ae CHAIR 
Ea Similar to the preceding. 
1\ t, 
377—SrxTrentH Century Iranian Watnut “Dante” Cua 
Curved arm supports and legs, with carved rosettes at inter- 
Bey section. Acanthus-leaf carved and scrolled arms, the scroll 
enriched by a carved rosette and acanthus-leaf carved base-rails. 
Seat and back in old red velvet, with silk fringe and velvet- 
covered pillow. 


378—Firreenty Century Iranian Watnut “Dante” CHAIR 
Curved arm supports and legs with carved rosette at the inter- 
25700 \ section. Acanthus-leaf carved and rosetted arms. Seat and 
back in old red velvet with red silk fringe. Velvet-covered 
cushion. 
“s M 
379—F IrTEENTH CrnturY Iranian WaLNnut “Dante” CHAIR 
Sees ae Similar to the preceding. 
“ 
380—TF IrTEENTH CENTURY ITALIAN WALNUT “Dante” Crair 
Curved arm supports and legs, with a turned rosette at the 
/ a) 7 “+ intersection. Carved and scrolled arms, inlaid with lines of 
lighter-colored wood and with a turned rosette. Seat and back 
in old red velvet with red silk fringe. Velvet-covered cushion. 


fe a 
WS ApA tem NIP 
381— SIXTEENTH CENTURY Umprian Watnout Carr ; 
Sgabello character. Shaped back, with scrolled sides enclosing 
47 6 =~ ascrolled cartouche. Square seat, with rounded corners, a cir- 
cular molded depression and fluted edges. JLyre-shaped front 
support, with sides carved with dolphins enclosing a scrolled 
cartouche, their voluted tails supporting a guilloche molded and 
rosetted frieze. ‘Their heads form the feet. 


Va 
Se Anam r”"”__ 
382—SIXTEENTH CENTURY UMBRIAN WaLNut CHAIR 


Sgabello character. Shaped back, with scrolled sides enclosing 
a scrolled cartouche. Square seat, with rounded corners, a cir- 

of 4@ + cular molded depression and fluted edges. Lyre-shaped front 
support, with sides carved as dolphins enclosing a scrolled car- 
touche, their voluted tails supporting a guilloche molded and 
rosetted frieze. ‘Their heads form the feet. 


/ hy 


(4 
ea re 
383—SIXTEENTH CENTURY Umprian Walnut Cuair 
Sgabello character. Shaped back, with scrolled and foliage 
Sats e¢ carved sides enclosing a cartouche surmounted by a woman’s 
head. Seat with circular molded depression. Lyre-shaped 
front support, carved with voluted scrolls and rosettes. 


~~ 

Qk x (. Lani ZC tL 

384—Two SixTEentH CENTURY ITALIAN WALNUT CHaIRS 
Straight backs, with carved finials and shaped and carved hori- 
)s% ve zontal splats. Pierced front seat-rail. Seats covered in red 


velvet embroidered with silver cord. 


* 385— ANDREA DEL Sarto’s CHAIR: SIXTEENTH CENTURY F'LOREN- 


— 


TINE WALNUT ARMCHAIR 


The horseshoe-shaped back consists of a curved and molded back- 
rail inlaid on the top and front face with geometrical designs 
and small stars. It is supported by seven turned columns of 
baluster design, with turned capitals and bases. The deep 
molded and shaped seat is cut out of a solid block of wood, the 
front being decorated with a design in dotted work. The four 
spreading legs are terminated by turned half-ball feet. 


(Illustrated) 


Note: This chair has an exceptional historical interest, for it be- 
longed to one of the greatest painters of the sixteenth century, Andrea 
del Sarto, and was more than once introduced by him in his pictures. In 
the Uffizi Gallery in Florence, for instance, there is a drawing in 
sanguine by Del Sarto which shows us his wife seated on this very chair. 


( (5) 
Wann ay, Ate 


386—SIxTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA”’ CHAIR 


0¢ 
— 


Curved sides and legs formed of eight interlacing square sup- 
ports pivoted so as to fold. Straight arms and shaped back, 
with an inlaid decoration on a dotted ground. The straight 
base-rails end in lions’ paws. 


NMOBS SI LI HOTH AA OLUVSG Taq] Ad ONIMVAC] HIM ‘aIVHD SOLUVG Tad VaYGNY “C8E “ON 


KY pvt ine (Ae 
387—SIxTEENTH Century ITALIAN WALNUT “SAVONAROLA” CHAIR 
Curved sides and legs formed of twelve square interlacing sup- 
/<_ ports pivoted so as to fold. Straight arms, ending in bell-shaped 


balls, shaped back carved in the center with the coat-of-arms of 
the Vitelli family and straight base-rails ending in lions’ paws. 


\s \ 
388—SIxTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” CHAIR 
: Curved sides and legs formed of eight square interlacing sup- 
~~ ports pivoted so as to fold. Straight scrolled arms, with carved 
rosettes; shaped back with incised shield in center and straight 
base-rails. 


KU 9A tne VU tO 
389—SrixtTrENTH CENTURY ITALIAN BEECHWOOD “SAVONAROLA”’ 
CHAIR 
4» . ¢. Curved sides and legs formed of ten interlacing square supports 
— pivoted so as to fold. Straight arms, with bell-shaped termina- 
tions. Shaped back, decorated with incised designs, as are 
also the fronts of the sides and legs. 


( Bn a 
\ + ( ( NAAM AAA L. ite 


390—SIxTEENTH CrentTuRY ITALIAN WALNUT “SAVONAROLA” CHAIR 
Curved sides and legs formed of nine square interlacing supports 
5 2s — pivoted so as to fold. Straight arms, carved on the upper sur- 
faces with small rosettes and ending in turned and carved balls. 

Shaped back and straight back-rails. 


391—Two Srxreentu Crenrury UmpriaN WatNnut LEATHER- 


COVERED ARMCHAIRS ( Y\- + 


High square backs, with carved and gilded acanthus-leaf finials. 
Straight molded arms, with turned baluster supports, turned 
legs and straight base-rails ending in lions’ paws. Covered in 
old leather tooled and gilded and colored with a design of a 
quatrefoil medallion and lozenge-patterned borders. Secured 
with contemporary large brass-headed nails and finished with a 
deep red silk fringe. 


392—Two SrxTreentH Crentury UmeriAn Watnut LEATHER- 
COVERED ARMCHAIRS , 


Ty hh - eats A SE 
/ &§ GY ~ Similar to the preceding. vs 2 ies 


~ 


hte vs 

Ole “DIMM LA __ 
3983—FirreentH Century Iranian Watnout “Dante” CHAIR 
Curved arm supports and legs with a turned rosette at the inter- 
section. Carved and scrolled arms, inlaid with lines of light- 
colored woods and with a turned rosette. Seat and back in 
old red velvet with red silk fringe. Welvet-covered cushion. 


(STU 


a 
=" 


i lem 
394—F irtrENTH Century Iranian Watnut “DANTE” CHAIR 
Curved arm supports and legs, with an inlaid medallion at the 
e intersection. The tops of the rosette-carved and scrolled arms, 
ef) the leg fronts, and base-rails are all inlaid with lines of light- 
colored wood. Seat and back in old Jeather with a small leather- 


covered pillow. 


Y thar rer“. Ir Zs 
395—FirreenteH Century Irarran Watnout “Dante” CHAIR 

Curved arm supports and legs, with an inlaid medallion at the 

Y, ,. intersection. The upper surfaces of the rosette-carved and 

Ee oe scrolled arms, the leg fronts and the base-rails are inlaid with 

lines of light-colored wood. The seat and back in old yellow 

velvet, with yellow silk fringe. 


“™ 
LS 


WP us 
SPANAVHEM! he 


396—Firreento Century Iratian Watnout “Dante” CHaIR 

Curved arm supports and legs, with carved rosette at the inter- 
section and on the scrolls of the arms. Seats and back in old red 
velvet, the back embroidered in silver cord with a diapered pat- 
tern of curved lines. Red silk fringe, and small velvet-covered 


Oary & 


cushion. 


397—Two SrxtTeentH Crnrury Irarian Watnyut /LEATHER- 
COVERED ARMCHAIRS Vl 4” rrr io 

»« High square backs, with small carved gilt finials. Straight 
chamfered arms on square supports, straight square legs and 
square side-rails. Covered with old leather, the backs tooled 
and gilded in a design of a central quatrefoiled medallion with 
smaller leaf-shaped medallions in the angles. Secured with 
large brass-headed nails and finished with a deep knotted fringe 
of red silk. 


NIRS ee, eer 
K ic xX a ae Ee a ka 


ee 


398—Two SrxTeentuH Crentury IraLiIAN Watnut LEATHER- 


ee ty aa — 


300— 


Ta dae 


4.00— 


COVERED ARMCHAIRS 
Similar to the preceding. 


Turee SIXTEENTH CENTURY IraLIAN BEECHWOOD “SAvoNna- 

ROLA” CHAIRS A i pare VO poe. 
Curved sides and legs, formed of seven square interlacing sup- 
ports pivoted so as to fold. Straight arms and base-rails. The 
fronts of arms and legs have incised fluted and rosetted designs 


and the shaped back a similar incised ornamentation. 


4 {\ 
THREE SIXTEENTH CenturY [rattan BrEecHwoop “SAvoNna- 


ROLA” CHAIRS 


// 2s — Curved sides and legs of eight interlacing square supports piv- 


oted so as to fold. Straight arms and base-rails and shaped 


backs, with an incised design of stars and circles. 


\ 


401—SIxTEENTH CEentTuRY ITALIAN WALNUT “SAVONAROLA” CHAIR 


oA) Oe 


Curved sides and legs of eight square interlacing supports piv- 
oted so as to fold, and with straight arms carved with designs of 
stars and with rosetted and scrolled ends. Shaped back, with 


incised shield. 
(i ls 


402—Srxreentu Century [rauiaN WALNUT “SAVONAROLA” CHAIR 


Similar to the preceding. 


—— 


\ 


DY MAVEN VS PAY 
403—SrxreentH Century [raLriAn WALNUT “SAVONAROLA” CHAIR 
Curved sides and legs of nine square interlacing supports piv- 
+b. oted so as to fold, and with straight arms, the scrolled ends of 
which are carved with rosettes. Shaped back, with incised shield. 


i ry 
404—SIXTEENTH CENTURY ITALIAN WALNUT ““SAVONAROLA” CHAIR 
J/g 0‘ Similar to the preceding. 
(\ b 
405—SIXTEENTH Century ITALIAN WALNUT “SAVONAROLA”’ CHAIR 


Curved sides and legs of nine square interlacing supports piv- 


USO ‘—  oted so as to fold. The straight arms end in turned and carved 
balls and the shaped back has an incised shield and initials in the 
center. 

(A rt) 
4.06—SIXTEENTH CENTURY IraLraAN WALNUT “SAVONAROLA”’ CHAIR 
ma ‘© Similar to the preceding, but without shield. 


‘ 
407—SIXTEENTH CENTURY ITALIAN WALNUT “Dante” Cua 
Curved arm supports and legs, with turned rosette at the inter- 
section. Scrolled arms with carved rosettes and base-rails end- 
ing in lions’ paws. Seat and back in old red velvet with red silk 
fringe. 
\s , 

408—FIrTEENTH CEentTURY IraLIAN WaLNnut “Dante” CHarR 

Curved arm supports and legs with scrolled arms. The seat 


vu U “and back in old red velvet with red silk fringe. Velvet-covered 
cushion. 


oo 


VW Ne iy LAA 
io Lee os XK prbhr14 VG 


409—F ivreentH Century F'rencH HiGH-BACKED CHAIR 
High back, with molded cornice surmounted by a pierced and 
», carved cresting of Gothic tracery and by two square vase-shaped 
, ¥ 00 ~ finials. The back is carved in the form of an arcading of two 
flat Gothic arches enclosing linen fold panels enriched with 
carving. The back of the seat proper is paneled in a similar 
fashion, while the seat front is divided into two unequal line 
fold panels. The straight flat arms are molded. The high back 
is so arranged as to fall forward, converting the chair into a 
temporary table. 


5 oN Vhs 
C% 


VAM a 


Height, 7 feet 2 inches; width, 2 feet 314 inches. 


H/I0 


410—Firreentu Century Irarian Watnut CANoPJED STATE 

CHAIR GAY, AAD Ors “6 

High paneled and canopied back; the canopy surmounted by a 

~— molded cornice and carved frieze and supported by two shaped 

bracketings which are continued down the sides so as to form 

two scroll-shaped arms to the seat. The latter is square and 

formed as a box with paneled front and molded foot standing 
upon a projecting shallow molded base. 


Height, 7 feet; width, 2 feet 6 inches; depth, 1 foot 10 inches. 


aye 


A i 
411—SIxTEENTH CENTURY FLORENTINE WALNUT CABINET 3 
Rectangular shape. Below a molded cornice enriched with egg 
and dart carving is a deep frieze divided into six square panels 
pie 3 dg ‘— by seven carved brackets, the center one of which represents the 
arms of the Capponi family supported by two putti, while the 
others, and two brackets at each side, are carved with heads of 
Roman Emperors in high relief. Below, the cabinet is closed 
by an elaborately carved fall front and flanked at each front 
angle by two carved allegorical figures, one over the other, 
supported on carved cherubim brackets, the sides being flanked 
by similar figures. The interior, revealed by the fall front, is 
divided into three compartments with hinged doors richly carved 
with arches and caryatid figures, and five drawers with panel 
fronts and swinging bronze ring handles. The cabinet stands 
on a molded base. The hasp and lock are wrought iron and 
the carved decoration is relieved by gilding. 


Height, 2 feet 91% inches; width, 2 feet, 714 inches; depth, 1 foot 
314 inches. 


/ 


412—SrxTEENTH CENTURY VENETIAN ‘TOQLED ee Ue 


j . } 


F'ALL-FRONT CABINET - Kh): 


WADIA 


/< Rectangular shape. Oblong fall-front coffer, upon a stand with 
four turned legs, both sections being entirely covered with 
tooled leather. The leather of the fall-front sides and top is 
decorated with panels enclosed by sunken lines, of an elaborate 
tooled, gilded and colored arabesque patterning on a red ground 
of floral scrolls and geometrical interlacements, while below is 
a broad band of similar decoration. The hinged front, which is 
secured with a wrought-iron hasp and key, falls forward so as 


(NddQ) LANIGVD LNOUd-TIV CIYAAOO-ATHLVAT AWTOOT, NVILUNDA AUNLNAD HINAALXIC ‘Zp ‘ON 


to expose the interior fitted as a nest of fifteen drawers of various 
sizes and a central compartment the front of which is decorated 
in tooled, gilded and painted leather with a subject of the mar- 
riage by a vestmented bishop of a young man and woman in 
sixteenth century costume. This central panel is flanked by 
figures of Archangels and the fronts of the other drawers depict 
scenes in the life of the young couple, and symbolic subjects, 
all in tooled, gilded and painted leather. The knobs of the 
drawers are of leather, rosetted and gilded. The inner surface 
of the front is decorated with two oval panels surrounded by 
arabesques and occupied by symbolic subjects of youthful lovers 
and their attendants in semi-classical costumes. The top of the 
stand is decorated to match the base of the coffer; the turned 
legs, of baluster design, are covered with leather tooled in an 
arabesque patterning, and the front, back and side rails are 
square. 


Height, 4 feet 7 inches; length, 3 feet 8 inches; width, 1 foot 4 
inches. 


y) is : 
a ¢ 7. eae | 
. Yur (2-0 OA {int 
413—SIXTEENTH CENTURY FLORENTINE WALNUT CENTER ABLE, 
KNOWN AS THE “VASARI” TABLE 


ae Oblong top of exceptional thickness, on four heavy square pillar 
legs with voluted consoles at the angles festooned with gar- 
lands of fruits and leaves. ‘These consoles end in lions’ paws 
which rest on shaped and molded bases. The plain shallow 
molded apron is supported by voluted modillion brackets pro- 
jecting on each side of the pillar legs. The side and end rails 
are square and uncarved. 


Height, 2 feet 734 inches; length, 4 feet 7 inches; width, 3 feet 214 
inches. 


(Illustrated) 


Note: This table is of unusual interest, owing not only to the ad- 
mirable character of its design and its unusual state of preservation, 
but also to the fact that tradition assigns its designs to Giorgio Vasari, 
the sixteenth century historian and writer of the celebrated “Lives of 
the Painters.” 


6 . . 
HAV], ,JUVSVA,, FHL SV NMONM ‘ATAV], YALNAD LANIVAA ANILNAIUOT YT AUWALINAD) HINGALXIG “ELF “ON 


—— 


rg rein) Ae 


* 414—Fitrrentu Century FLORENTINE WALNUT PEDESTAL ‘TABLE 


Rectangular top, with apron divided into three molded and sunk 
panels of which the center one forms a drawer with a wooden 
knob. Supported on a square paneled and molded pedestal 
formed in two divisions and resting upon a large square molded 
base. The top is inlaid in light-colored woods in a bold geo- 
metrical design. 


Height, 31% inches; width, 461% inches; length, 461% inches. 


Note: Upon this interesting table, which comes from the Palazzo 
of the Martelli family of Florence, the famous Donatello Bust, now 
in Philadelphia, stood for at least a generation. 


ate & - CQamecy a 


a 


415—FIrTEENtTH CENTURY GENOESE WALNUT SIDE TABLE — 


aAI7ot 


Oblong top, with apron carved on three sides with masks and 
scrollings, the front being divided into two drawers with knobs 
projecting from carved masks in the center. Separating the 
drawers, and at each corner, is an angel’s head. Below the 
apron, at each of the front angles, is a turned pendant. The 
table is supported at either end by two turned columns of 
baluster design, and by a longitudinal arcade of three similar 
columns. These columns stand upon a longitudinal base whose 
sloping sides are carved with scrolls and masks; this base is 
upheld by two couchant lions. 


Height, 2 feet 111% inches; length, 4 feet 1% inches; width, 2 feet 
634 inches. 


e5 


416—SIxTEENTH CENTURY ITALIAN WaLNUT CRADLE 


Rectangular shape, on carved rockers. The sides and end have 


~- 4 molded cornice richly carved in a rosetted pattern and a 


molded base carved in an egg and dart design. Between these 
the sides and end are carved in a design of circular medallions 
enclosing carvings of the signs of the Zodiac, and the half- 
moon, coat-of-arms of the Strozzi family. The high head-board 
is of semicircular shape, carved with a shield of the Strozzi 
coat-of-arms and with a cross and a coronet. ‘The shaped foot- 
board is carved with scrolls and the semicircular voluted rockers 
are carved with grotesque masks. 


Height, 8 feet; length, 3 feet 3 inches; width, 2 feet 1 mech. 


AB. 
rirersry cic eked eee 


oun Lp 


VAL Pee: 
417—SixtrentH CENTURY FLORENTINE WALNUT CRADLE 
Rectangular shape. The molded edge is carved in an egg and 
dart pattern and is dentelled; the straight sides of the body 
are decorated with carved oval raised medallions with gilded 
a 00 floriated terminations. The incurved underbody is carved with 
bold gadroonings enclosing at the centers a carved acanthus leaf, 
and with carved acanthus leaves at the angles. The scrolled 
supports have carved fronts and the molded rockers are also 
carved. The head-board is square, paneled with a molded bor- 
der, and occupied with a rich carving of a scrolled escutcheon 
having the coat-of-arms of the Salviati family of Florence. 


Height, 8 feet 21% inches; length, 4 feet; width, 2 feet. 


* 418—SrmxTEENTH CENTURY ITALIAN WaLNutT Hancine HAtTRACK 


Rectangular shape. Projecting canopy, with molded cornice, 
inlaid frieze and apron formed as a series of Gothic pointed and 
trefoiled arches with molded pendants, carved trefoil spandrels 
and supported at the side by two shaped carved and pierced 
brackets of a scrolled leaf design. The back, under the sloping 
roof of the canopy, is divided into six molded panels, the lower 
one being square and enclosing diagonal molded squares of inlay 
with carved Gothic leaves occupying the angles. Above is a row 
of six turned wooden hatpegs, and the molded base has a plinth 
with a long narrow molded and inlaid panel. 


Height, 3 feet 344 inches; width, 4 feet 714 inches. 
(Illustrated) rats 


MOVULV 


H ® 


NIDNV 


H LONIvA 


NVITV 


LT AYOINA) HINAALXIS “SLPF “ON 


419—FrtrENtH Century Iranian IntaA Watyur WRITING 

CABINET e ON | 
‘—— Rectangular shape, divided horizontally into tw¢ portions and 
completely inlaid with ivory in the so-called ‘“Certosino” work. 
The fall front of the upper part, inlaid with circular medallions 
and borders of a geometrical patterning, gives access to the 
interior, divided into two compartments with hinged doors and 
two drawers. The lower part is divided into one long drawer 
with a single sunken panel and a cupboard with two hinged 
doors inlaid to correspond with the fall front. 


Height, 5 feet 24% inches; width, 3 feet 1% inches. 


og ve 
. / f 
VAAN RK I Optenw 


420—SIXTEENTH CENTURY LIGURIAN WALNUT CABINET 


Rectangular shape, divided horizontally into two parts. ‘The 
upper part, with deep molded cornice, is arranged into two cup- 
boards with hinged raised panel doors decorated in painted 
chiaroscuro work, with shaped bronze keyhole escutcheons, and 
separated by three pilaster-like panels richly carved, in a design 
of scrolled strapwork and oval medallions. The lower portion, 
separated by a heavy molding, is arranged into two drawers 
above, their fronts carved to correspond with carved fronts and 
bronze swinging ring handles and two cupboards below with 
raised panel fronts. These and the drawers are separated by 
three pilaster-panels carved with scrolled strapwork and laurel- 
leaf pendants. Below is a plinth with paneled front, a molded 
base, and ball feet. 


Height, 5 feet 7 inches; width, 4 feet 2 inches; depth, 1 foot 10 
inches. 


A 


421—FourRTEENTH CENTURY VENETIAN Gora WALNUT Cre- 
DENCE Vy Vie Chega Odin 

,- Rectangular shape. Oblong chest, standing upon four str ight 
~~ legs. The upper portion, with shallow molded cornice, is divided, 
as to the front, into four panels of which the two larger ones 
are the fronts of hinged doors. The divisions between these 
panels are molded and the panels themselves are occupied with 
elaborately carved flamboyant, or Late Gothic tracery, the stiles 
of the two center ones being inlaid. Below is a shaped apron, 
with a molded pendant in the center, formed of two oblong 
panels filled with Gothic tracery. The ends have large linen 
fold panels, the straight legs are square, as are the front and 
end rails. The lock fronts of the two doors are of iron wrought 

in an arcaded and floriated patterning. 


Height, 4 feet 5 inches; width, 4 feet 9 inches; depth, 1 foot 8 inches. 


NaC ka 7 r 7 ded . 
LSA) LIN'TV AA GIWIN]T ANILNGYOTY AWILNA) HINGH LADY -& IUV, GSP ON 


422-—Karty FurreenrH Century FLorentine INLAIp WALNUT 
CHEST 
Rectangular shape, with molded hinged lid. The front is 
, divided into four molded panels, the horizontal and vertical 
(POV Y ‘—— stiles separating which are inlaid in lighter-colored woods with a 
bold patterning of scrolled oak leaves. _The panels are occupied 
by carved laurel-leaf wreaths, enclose rich diapered patternings, 
and the spandrels of the corners are filled with carved rosettes 
and leaves. ‘The base is molded and there is a wrought-iron 
hasp. 
Height, 2 feet 3/, inch; length, 6 feet 4 inches; depth, 1 foot 934 
inches. 
(Illustrated) (2 
(OnAAWLW RK NPA 


ar _ 
423—FEarLY FrrrreNtTH CENTURY FLORENTINE InLAID WALNUT 
CHEST 
/ ee nen aa ; : 
AY U0 “— Similar to the preceding. 


= 3 
(vs Wy. Franch Mer 

424—S1xTEENTH CENTURY SIENESE WALNUT CABINET 
Rectangular shape, with heavy molded back, carved with flut- 
ings. The front is flanked by two fluted and astragalled pilas- 
ters supporting a frieze and a molded cornice, and is divided 
Sy gU “into three raised paneled doors with carved moldings and earved 
masks in their centers holding bronze rings and flanked by 
sunken molded panels. The incurved molded base 1s enriched 

with flutings and astragals. 

Height, 4 feet 6 inches; length, 6 feet. 


(Illustrated) 


LANIGV() LONIVAA ASHUNAIQ AWOLINAY) HINAALXI$ “Tob ON 


pet K. 


sti 


orto ereegnrereu 
Ss Assitasoee awe 


cs eae ape tea 
Senos roomeramoaaei ewe nwae se ne S : a > Re re 
SUP EETAT TENS ET PVTTYTT PVT EIVIR TITTLE VTE ITPS TIVITTIDIOTIOTS meres : - 
WARSA AREA SADLSRSRAS SADE) ED RATOARSRSERATRLERELLRSESRAES AER ED RS : : : : Ss ree 
BERS RS a LR € ELST RERE 


fr 


‘ee (AGEL 


425—FourteENtH Crentury Umsrian GOTHIC CHEST 


Rectangular shape. Oblong top, with molded edges. The front 
is divided by vertical molded stiles into three unequal divisions 
and is enriched with a sunken Gothic arcading of six arches 
formed of straight molded pilasters supporting trefoiled pointed 
arches with carved circular rosettes in the spandrels. The cen- 
tral division of four arches forms two hinged doors, with 
wrought-iron strap hinges. Swinging ring handles and locks. 
The front is studded with heavy wrought-iron nails and the 
chest stands upon a molded platform base. 


Height, 8 feet 8 inches; length, 6 feet 8°4 inches; depth, 2 feet 8 
inches. 


Y 


4 J) toarnury 
426—F iereentH Century Irauian (Eminian) WaALNorT CaBINET 


Oblong-shaped, with heavy wooden top with plain edge. The 
body is divided into two divisions by six Doric pilasters grouped 
in three pairs with a molded cornice, frieze and molded base sup- 
ported by four carved couchant lions, and a pedestal carved with 
masks. The frieze is divided into two large and three small 
drawers, with paneled fronts and wooden knobs; the body into 
two cupboards, with paneled fronts and wooden knobs. At 
the ends are two large bronze drop handles. 


Height, 3 feet 5 inches; length, 7 feet 6 inches; depth, 2 feet 8 
inches. 


= 
fo 


, // 


(os | 
ee. 
a / F 


A Pia 
ie Ve Vie a ot 
\ J 
* 427—S1xtTeentH CENTURY UMBRIAN WaLNutT CENTER ‘TABLE 


Square top, with molded edge and incurved apron carved with 
bold gadroonings and fitted with a drawer with turned wooden 
— knob. This top is supported on a central pedestal of columnar 
form richly carved with acanthus leaves and by four caryatid 
figures of youths, the lower parts of their bodies carved with 
acanthus leaves and terminating in goats’ hoofs. ‘These rest 
upon a deep molded square base, with incurved side supported 
by feet carved as lions’ paws. Invested with a fine patina. 

Height, 2 feet 81% inches; length, 3 feet 71/4 inches; width, 3 feet 

314 imches. 
(Illustrated) 


Note: So exquisite is the almost jewel-like finish of this piece and 
so unusual its design that the latter has been attributed to Pinturicchio. 


GTAV], YALNAD LANIVAA NVIYMNE) AVNALINAD HLINADLXIC *LZFP “ON 


me 


LEE TEES 


aATav LT LONTY MAA NVOGVd AUOLNGA) HINGALXIS ‘SOT "ON 


Lele 


HONGG XOQ LANIVAA ANILNAYOTY AUDLINAD HLNAALXIC ‘6ZF ‘ON 


las 
YVR Y . i, GARR 

428-—SIxTEENTH CENTURY PapuaN WaLnut TABLE 
Oblong top, with molded edge enriched with a carved egg-and- 
dart patterning. The apron is divided, front and back, into five 

v¢ drawers with paneled fronts separated by shaped brackets, rest- 
ing upon a beaded molding. The ends of the apron are paneled. 
The table is supported at either end by a lyre-shaped leg carved 
with volutes and resting upon a transverse molded base-rail 
carved at the ends with acanthus leaves. There is a shaped 
longitudinal brace. | 


Height, 3 feet 2 inches; length, 9 feet 5 imches; width, 3 feet 4 
inches. 


(Illustrated) 


_— 


A ( Va NAN" \O PRt<. 


wi 
429—SIXTEENTH CENTURY FLORENTINE WALNUT Box BENcH 


Rectangular shape. ‘The paneled back and arms are surmounted 
by a molded ledge and the latter end in front with voluted con- 
sole-shaped brackets. The projecting seat is fitted as a chest 
with a hinged lid, is molded and incurves to a molded base. The 
whole stands on a molded platform base. 


Height, 3 feet 314 inches; length, 8 feet 5% inches; depth, 2 feet 
41/, inches. 


(Illustrated) 


f 


AANA Ck oe WWYNAN"“. 


430-—SIXTEENTH CENTURY FLORENTINE INLAID WALNUT/-BENCH 


Rectangular shape. The back, with molded cornice and an in- 
laid frieze, is divided by six molded stiles into five molded panels 
inlaid with diamond-shaped interlacements. The seat is of box 
form, with two hinged lids, the front divided into five panels 
with borderings inlaid in a twisted ribbon pattern. The pro- 
jecting base is molded. 

Height, 4 feet 1% inches; length, 9 feet 101% inches; depth, 1 foot 

814, inches. 
(Illustrated) 


Sees 
ane pore 
YF ned moa CAL ann“_ 


431—SIXTEENTH CENTURY FLORENTINE INLAID WALNUT BENCH 


Similar to the preceding. 


432—SIXTEENTH CENTURY ITALIAN STATE BENCH 


Rectangular shape. ‘The back, with molded cornice, is sur- 
mounted by a beautifully carved pediment consisting of two 
voluted scrollings supporting two recumbent figures of nude 
women supporting between them a festoon of drapery which 
falls in front of a shaped and molded pedestal supporting a 
festooned and scrolled urn-shaped vase carved with a coat-of- 
arms of the Orsini family. The solid arms have scrolled, voluted 
and acanthus-leaf carved fronts and seat of incurved sarcopha- 
gus shape flanked by projecting heart-shaped voluted pilasters 
enclosing carved grotesque masks, which break the lines of the 
molded cornice and base. The back of the seat is framed with 
a molded stile following the seat-lines at the sides. The whole 
stands upon a molded platform base. 


Height, 4 feet 11 inches; length, 7 feet 3°4 inches; width, 2 feet 
34 inch. 
(Illustrated) 


Note: The design of this magnificent bench has been confidently at- 
tributed to Gian Bologna. 


HONDG LANIVAA GIVIN] ANILNGYOTY AUAINAD HINAGLXIG “OEP “ON 


HONGG ALVLG NVIIVL] AUAINID HINATLXIC “ZEh “ON 


Sk i mil accion 


4 (3 


ry 4 
Vn “Gr \t gh 
* 433—SIXTEENTH CENTURY FLORENTINE Carvep WALNUT BENCH 


The rectangular back is surmounted by an elaborately carved 

*— pediment consisting of a central scrolled sphinx head from 
which festoons of drapery depend and are caught by two gro- 
tesque masks which form the carved sides. These are flanked 
by two festooned vases from which “flames” issue. The back of 
the seat is paneled, the center panel being occupied by a carved 
heavily scrolled rosette. The lyre-shaped pedestal arms are 
carved in the fronts with scrolls and oval cartouches bearing 
the arms of the Antinori family. The seat is molded and fluted, 
and the portion which incurves to the molded base is carved with 
voluted ribbings meeting in a grotesque mask. The whole stands 
on a molded and fluted platform base. 


Height, 5 feet 5 inches; length, 9 feet 43/4 inches; depth, 2 feet 51% 
inches. 


(Illustrated) 


HONGG LONIVAA GHAUV’) ANILNGYOTY AYOLNAT) HINGALXIS “ESP “ON 


¢ é 


ti “4 
a 


Vee PE uy bate 


PRETIP THT 


434—F irreentaH Century FLoRENTINE INLAID WaLnutT GuaARD- 
HOUSE BENCH (QL4%; Se byaey es Chie 

ie Rectangular shape. The straight back is paneled and inlaid, 
/4 © & °—~ agare also the inner surfaces of the straight pedestal arms. The 
fronts of these are formed as Ionic pilasters, with carved capi- 

tals and shafts inlaid with panels of interlacing design. ‘The 

front of the seat is inlaid in panel form. On a molded platform 

base. Arranged so as to be converted into a bed for a soldier’s 

use. 
Height, 3 feet 214 inches; length, 10 feet 134 inches; width, 2 feet 
914 inches. 


(Illustrated) 


4 ‘if l Sahhorue 
435—Two FirrEeENTtTH CENTURY Reem ON BENCHES 
Rectangular shape. The friezes of the molded seats are inlaid 
Ss) dQ *&- in light-colored woods with a diapered design of interlacing 
crescents (the arms of the Strozzi family). These seats are 
supported by three shaped and scrolled legs richly carved with 
animals, foliage and the three Strozzi crescents, and terminate 
in lions’ paw feet. | 


Height, each, 1 foot 11 14, inches; lengths, 10 feet 9 inches and 9 
feet 3 inches; width, each, 1 foot 514 inches. 


(Illustrated) 


Note: These benches were designed by Benedetto da Maiano, the archi- 
tect of the famous Strozzi family in Florence. 


SHHONAG LONIVAA ANILNAYXOTY AUMQING) HINGALALYT OMT, ‘GEP ON 
HONGAG ASNOHGUVIY) LON TIVAA GIWIN] ANILNGAYOT HY AUMQING) HINGALATY “PEp “ON 


eR ie ea ad 2 . 
oe RE eT ER I RSENS aS. Mamta ener te trent enttnRta Nt i NEE te ttn fete Nema OT, 


(sit ils Se 


ee eee 


436—FirreentH Century FiLorentine Watnutr Large CaBinet 
Rectangular shape, with molded cornice, deep frieze and splayed 
. angles. The front is divided by pilaster-like molded panels into 
three hinged doors with paneled fronts inlaid with lighter-col- 


ored woods in geometrical patternings. The splayed angles are 
also inlaid. Molded base. 


7 ym % 
Y VU 


U 


Height, 8 feet 3°4 inches; length, 11 feet 214 inches; depth, 2 feet 
61/4, inches. 


437—FivreentH Century Iranian Watnut LarcE ‘THRONE 

Rectangular shape. The high back, with molded cornice en- 
riched with small dentels and egg and tongue and bead and reel 
carvings, with a deep frieze inlaid with an elaborate pattern 
of bold scrollings, is supported by four composite Corinthian 
pilasters with richly carved capitals, paneled shafts and molded 
bases. ‘These divide the back into three oblong molded panels, 
which are repeated below at the back of the seat proper. The 
paneled straight arms are capped with carved and molded tops, 
and their fronts are paneled, as is also the seat front. There 
is a molded base with a plinth, and the whole stands upon a 
molded platform base. 


Height, 9 feet 214, inches; width, 9 feet 514, inches; depth, 2 feet 9 
inches. 


(Illustrated) 


ANOUBT, WAVY LONIVAA NVIIVIT AWOL QALY “LEp “ON 


~1- trorvre et. 
CM: 2 LN 


* 438—F ipreento Century FLORENTINE CARVED AND GILDED CASs- 


t3g0> 


SONE, OR MaArriaGE COFFER 
Oblong shape. The hinged lid, with flat top and sloping sides, 
shows traces of having been painted in tempera in a scrolled 
patterning in various colors. The front is decorated with raised 
figures of “pastille” composition on a gilded ground, diapered 
with incised circles and dotted scrolls, and with leaves and flowers 
in low relief. In the center four female figures in classic robes 
represent Temperance, Strength, Justice and Prudence, each 
holding her respective symbols. These are flanked by candela- 
bra on square molded pedestals and by shields painted, in tem- 
pera, with armorial bearings of a rampant lion and six eagles 
“displayed.” On the left are two centaurs fighting with clubs, 
and on the left the centaur Nessus carrying off Dejanira. ‘The 
cassone stands on four shaped and bracketed front feet with 
Medusa heads and scrollings in high relief and gilded, and the 
ends are decorated with medallions enclosed within circular floral — 
garlands painted in tempera. 

Height, 2 feet 9 inches; length, 5 feet 10 inches; width, 2 feet 3 

inches. 


(Illustrated) 


YATHOT) AOVIVAV], XO “HaNOSSV)) qaqalir) GNV GHAdV) ANIINGYOTY AUYOLINAY) HLINGAALAY “Sep “ON WM 


Lad 


Vs Vb ee 0 2,00, Aa \O 


* 439—Frerreentu Cenrury FLORENTINE PAINTED AND GILDED Cas- 


SONE, OR MarRIAGE COFFER 


Ot Sarcophagus-shaped, with hinged molded and domed lid. ‘The 


front is decorated in raised and painted “pastille” or composition 
work, on a gold background, with an allegorical subject of 
“Bacchus and Ariadne” in a triumphal car drawn by winged 
Gryphons urged on by a youthful Bacchante. ‘They are pre- 
ceded by a procession headed by Pan playing his pipes and com- 
posed of Satyrs and Fauns. This subject is flanked by two 
winged sphinxes, holding small shields in red with gold crossbars. 
Above and below the panel are moldings enriched by bands of 


raised rosettes and leaf ornamentations in gold on a blue ground. 
The base is molded. 


Height, 8 feet 314 inches; length, 6 feet 5%4 inches; depth, 2 feet 
714 inches. 


(Illustrated) 


Note: The design of this cassone is attributed to Pollaiuolo (1429- 
1496). 


YaAtOr) GOVITUVIN LO ‘ANOSSVY) aqaa tiny NV GaHLNIV q ANILNGAYO TY AUNINGA) HLNGALATY “6 E+ “ON MM 


yo" 4 
Fhe fi 4 Fe 


(s 


(says Lif 
Waly 2 Popper. 


440—FIFTEENTH CENTURY FLORENTINE PAINTED AND GILDED Cas- 


Load = 


44] 


¢¢e 


SONE, OR MARRIAGE COFFER 

Sarcophagus-shaped, with hinged molded and domed lid. ‘The 
front is decorated in raised and painted “pastille” or composi- 
tion work, on a gold background with an allegorical subject 
of “The Rape of Proserpine.” Pluto is seen seizing Proserpine 
in his arms, while her maidens flee lamenting. On the right 
stands Pluto’s chariot, drawn by two horses and attended by 
demons blowing trumpets. In the background is a landscape 
with trees. This subject is flanked by two winged sphinxes, 
holding small shields in red with gold crossbars. Above and 
below the panel are moldings enriched by bands of raised ro- 
settes and leaf ornamentations in gold on a blue ground. ‘The 
base is molded. 


Height, 8 feet 2% inches; length, 6 feet 5°4 inches; depth, 2 feet 
71% inches. 
(Illustrated) 


Note: The design of this cassone is attributed to Pollaiuolo (1429- 
1496). 


SrxTEENTH CENTURY NortH ITALIAN hang CENTER 

TABLE KW AA WO eee 
Oblong plain top, with two draw-leaves, on deep apron inlaid 
in lighter-colored woods, with lozenge-shaped medallions, sepa- 
rated by carved voluted modillion-shaped brackets which rest 
on molding carved in an imbricated pattern. At the four angles 
of this apron are turned ball pendants and at either end square 
baluster-shaped legs richly carved with acanthus leaves and 
resting on a heavy molded longitudinal brace enriched with a 
paneled guilloche pattern and applied spindles and supporting 
an arcade of four turned squat pear-shaped columns and two 
half-columns with scrolled arches. This brace is finished be- 
neath with a pierced honeysuckle carved and voluted apron, and 
at the ends by square dies carved with masks, and rests upon 
two transverse supports carved with volutes and detached 
acanthus-leaf bracketings. 

Height, 2 feet 9Y% inches; length, 5 feet 5% inches; width, 3 feet 

314 inches. 
(Illustrated) 


UAAALOL) GOVITUVIN, WO bac Bh OSSWr) quai) anv aaLNivd a ILNGAYO Ty AUWOLING) HALNGALALY “OPP “ON 


HIV], YALNAD LANIVAA NVIIVIT HLYON AYAINAD HINGALXIC *[ Pp ‘ON 


LONTV GIWIN]T YANILNAYOT APMMINGA HUNG LAT WAT ‘Oo 
i G 


AJ 


py 
fe / ff 4 y) 
Dnt TI Gane — 


442—F te trENtTH CENTURY FLORENTINE INLAID WALNUT, CASSONE 


Rectangular shape. The domed and molded hinged lid is inlaid 

in lighter-colored woods with a geometrical patterning. ‘The 

front is formed as a molded panel surrounded by bands of inlay; 

the front angles are supported by two double voluted, rosetted 

and acanthus-leaf carved consoles and the plinth of the molded 

base is inlaid with a patterning of geometrical medallions. 
Height, 2 feet 111% inches; length, 6 feet 8 inches; width, 2 feet 

41/, inches. 


(Illustrated) 
(y / of pe 


443—FIrreENtTH CENTURY FLORENTINE INLAID WALNUT CASSONE 


ee 


Rectangular shape. The domed and molded hinged lid is inlaid 
in lighter-colored woods with a geometrical patterning. The 
front is formed as a molded panel surrounded by bands of inlay; 
the front angles are supported by two double voluted, rosetted 
acanthus-leaf carved consoles and the plinth of the molded base 
is inlaid with a patterning of geometrical medallions. 


Height, 2 feet 114% inches; length, 6 feet 8 inches; width, 2 feet 


4T/, mches. 

ax 
nat eae a 
IVA SY) ae OLY Cc 


wv 


444—SIXTEENTH CENTURY FLORENTINE WaLNutT Draw TABLE 


j vy 


Plain oblong top, with two drawer leaves. The apron is curved 
and carved with bold gadroonings, with acanthus leaves at the 
angles and the centers of the sides and ends. ‘The two heavy 
legs are lyre-shaped and richly carved in a design of three carya- 
tid figures. That in the center, with a woman’s face and breast, 
terminates in voluted feet and is surrounded by a festoon of 
fruits and leaves, while those at the side have grotesque heads, 
and terminate in large ball and lions’ paw feet, the lower parts 
being formed of scrolled and acanthus-leaf carved brackets. 
The heavy molded base-rails are carved with winged grotesque 
masks flanked by voluted acanthus-leaf carved ends. ‘The broad 
horizontal brace is molded and fluted and supports a central 
figure-shaped, scrolled and voluted bracket ending in lions’ paw 
feet. This is flanked by two half brackets of similar design. 


Height, 388 inches; length, 60 inches; width, 36 inches. 
(Illustrated) 


aTav MVE LONTV ANILLNAYO'T AQMNMINGA HINGWALXI 2 ‘Oo 
if 


Pea > 


fo < 
TV ARE KG - L.A Og L 
* 445—SIXTEENTH CENTURY TuscAN WaLnuT LarGE CENTER 
TABLE ( 
Heavy oblong top, with molded edge, the upper member carved 
77) “—_ in a pattern of guilloche, the lower member with enriched den- 
tels. The lyre-shaped legs are exceptionally heavy and richly 
carved with bold acanthus-leaf volutings enclosing oval car- 
touches carved with a coat-of-arms and terminating in lions’ 
paws; the square longitudinal brace is fluted. 
Height, 2 feet 7% inches; length, 9 feet 614 wmches; width, 3 feet 
215 inches. 


ANOSSV LONTV GIVIN]T AZNILNAYMOTY AVON HINHG LAT “OP “ONT 
N i ‘ I 


: fa 
| Gir Grek Arbor 

446—FirreEENTH CENTURY FLORENTINE INLAID WALNUT CASSONE 
Rectangular shape. with flat molded hinged’ lid. The front is 
richly inlaid in woods of various colors with an allegorical sub- 
ject of a Cupid standing upon a dolphin’s back in a chariot 
drawn by a unicorn. At the front of the entrance to a castle 
stands a centaur armed with a club, evidently awaiting them 
and prepared to contest their advance. In the center is a coat- 
of-arms mantled with acanthus-leaf scrollings. The panel is 
surrounded by a broad border inlaid in a pattern of conventional 
leaves and is flanked by two vertical panels of vases, candelabra, 
flowers and leaves. The ends are inlaid with figures of winged 
Cupids and the plinth of the molded base is inlaid in a geometri- 
cal patterning. | 

Height, 8 feet 2% mches; length, 7 feet 124 inches; width, 2 feet 

614, inches. 
(Illustrated) 


447—SIXTEENTH CrentTURY SIENESE PaInteD ARMOR CABINET 

Rectangular shape. Molded cornice and frieze painted on a 
dark blue ground, in gold lettering, with a Latin inscription: 
“Non bacche sed gradivo Marti dichatu.” The body is divided 
into four large doors with single longitudinal molded panels, 
painted on white grounds with elaborate grotesqueries of scrolls, 
birds and trophies, in color, the two outside panels having coats- 
of-arms supported by Amorini. These doors are flanked by 
two pilasters with painted capitals and bases and shafts painted 
in designs of candelabra on black grounds. The sides are pan- 
eled with carved moldings. 

Height, 6 feet 6 inches; width, 7 feet. 


(Illustrated) 


Note: This remarkable piece of furniture was painted by Antonio 
Brazzi, known as “I] Sodoma.” 


NET 


SIENESE Patnrep Armor Casi 


ENTURY 


TEENTH C 


447. Srx 


No. 


448—FOURTEENTH CENTURY VENETIAN CAarRveED WALNUT VOFFER 


coll dd = 
4.4.9 — 
GO OF 


Rectangular shape, with hinged lid. The front and ends are 


~ richly carved with a Gothic arcading of six round arches sup- 


ported on carved pillars with molded bases. From the capitals 
of these pillars spring inner crocketed and trefoil-finialed arches, 
and the spaces below are filled with Gothic tracery. In the 
center is a narrower arched recess occupied by a shield hanging 
to a conventional tree. The plinth of the base is carved with a 
pattern of conventionalized trunks of trees. Wrought-iron lock. 


Height, 8 feet; length, 8 feet 1 inch; depth, 2 feet 11% inches. 


SIXTEENTH CENTURY TuscAN WALNUT BENCH 
Rectangular shape. Straight back, with molded top divided into 
one square and two oblong molded panels. The straight pedestal 
arms are carved in the fronts with scrolled female masks. The 
seat front is paneled, carved with a bead and reel, and incurves 
to a molded base. The whole stands upon a platform base. 


Height, 3 feet 714 inches; length, 8 feet 51% inches; depth, 1 foot 
534 inches. 


(Illustrated) 


HONGG LANIVAA NVOSOT, AYOLNAD) HLNADLXIC "GFR ‘ON 


| ot V--16 
450—FouRTEENTH CENTURY UMBRIAN WaLNuT Monastery cINEN 


CLOSET 


Us L, / ? Rectangular shape. Richly molded and dentelled, cornice and 


frieze inlaid in colored woods with a scrolled design of flowers 
and foliage, supported by two wide fluted and astragalled pilas- 
ters with fluted and egg-and-dart capitals on either side. Be- 
tween them are two large hinged doors, each one divided by 
molded stiles into eight panels enriched, in the centers, with 
lozenge-shaped inlaid medallion having a pattern of geometri- 
cal interlacements. The interior is fitted with shelves and the 
inner surfaces of the doors are divided by painted blue bands on 
a white ground, into eight panels, each occupied by a red, blue 
and yellow. Molded base. Brass drop handles and wrought- 
iron key lock furniture. 


Height, 7 feet 1 inch; width, 7 feet 2% inches. 


XS G hy ~ 


451—SIXTEENTH CrenTURY Tuscan Wa.tnut Low-prost Brp 

Four turned posts at the angles, formed as fluted and astra- 

Al ¢ vu ‘> galled columns, with acanthus-leaf capitals and bases, carved 
pineapple finials, on carved baluster-shaped legs with square 
feet. The headboard has an open arcading of five delicate 
turned columns supporting a shaped cresting, carved with bird- 
headed scrollings, and an oval cartouche with a crowned eagle 
displayed. The footboard is carved with acanthus-leaf volutes, 
and the ends and sides are molded. 


Height, 5 feet 4 inches; length, 6 feet; width, 4 feet 6 mches. 
(Illustrated) 


452—Laté SIXTEENTH CentTuRY ITALLAN Carvep AND GiLtt WAL- 

nut Low-post Brep S WI rma ere 
The foot-posts have molded and carved Corinthian capitals, 
7 ad te molded bases, shafts enriched with spiral turnings and carvings, 
and are surmounted by spirally fluted vases ending in flames. 
The head-posts have turned capitals and spiral shafts enriched 
with carving, support the molded and dentelled cornice of the 
headboard, and terminate in “flamed” vases. The headboard 
cornice and the scrolled voluted and acanthus-leaf pediment are 
supported by a pierced arcading of four round arches on twin 
spirally turned columns. The posts rest on square pedestals and 

the sides and end are plain. Completely gilded. 

Height, 5 feet 1134 inches; length, 7 feet 6 inches; width, 5 feet 31/4 


inches. 
(Illustrated) 


dag LSOd-MO'T LON TV AA NVOSOT, AYOLNGAS) HINGALXIG “LGp “ON 


aquq LsOd-MOT LONTIVAA TIX) QNV GHAUV’) NVITVLYT AUOLNAY) HLNAALXIQ ALW YT “COP “ON 


AA a” priv Ae 


VE 

Y 

453—FIeTEENTH CENTURY FLORENTINE INLAID Watnout Dats BEp 
The bed proper has a rectangular headboard, with a molded and 

v*  dentelled cornice, a frieze with a lozenge-shaped inlay, and is 
divided into eight molded panels by stiles inlaid with lines m 

a geometrical interlacement. The footboard has a molded cor- 

nice, a band of inlay, and is divided into four molded panels 

with stiles inlaid in geometrical interlacements. The high dais 

on which the bed stands has its end and sides divided into 


molded panels with inlaid stiles. 
(Illustrated) 


Note: This characteristic type of bed was used in Italy, especially 
in Tuscany, during the late fourteenth and early fifteenth centuries. 


qaq SIV LONIVAA CIWINT ANILNAYOT AUMINGA) HLNGGLALY “EGP “ON 


454—FouRTEENTH CENTURY TUSCAN WALNUT SACRISTY CUPBOARD 


Rectangular shape, divided horizontally into two portions. The 
upper one, with a molded cornice, is divided into fifteen drawers 
with square molded panel fronts enriched with diamond-shaped 
medallions of inlay, in the centers of which are swinging ring 
handles of bronze. The lower portion, which projects forward 
with a molded top, is divided into closets with ten hinged doors, 
the fronts of which have two molded sunk panels and swinging 
ring handles of bronze, in the center of the transverse stiles. 
There is a molded foot and the cupboard stands upon a molded 
platform base. 

Height, 5 feet 24 inches; length, 15 feet 4 inches; depth, 2 feet 

1184 inches. 


(Illustrated) 


aquvoddnAy) ALSTYOVSG LONIVAA NVOSOT, AWOLNGA) HLNGALYOOW “PGP “ON 


A) 


ee 
4544 —FIFTEENTH CENTURY SIENESE CARVED / AND Gir W oop 
Frame (By Barrili of Siena: XVtH CEntTuRY) 
Rectangular shape. ‘The deep molded frieze is dentelled and 
0’ earved with water leaves, egg-and-dart patterning and flutings; 
the frieze is carved in very high relief with a design of gryphons, 
candelabra and cherubim, and the molded architrave is carved 
in an egg-and-dart pattern, a Greek fret and flutings. The 
cornice and frieze are supported on two Corinthian pilasters, 
their capitals carved with pierced volutes and scrolled acanthus 
leaves, their paneled shafts carved in high relief with an 
arabesque design of masks, winged gryphons, acanthus-leaf 
voluted scrolling, husk pendants and winged caryatid figures, 
and the bases are molded. Below is a sub-base molded, and 
carved above with a bead-and-reel and below with an egg-and- 
dart pattern, the space between being richly carved in a pattern 
of circular medallions, the center one enclosing the sacred 
monogram I.H.S., those on either side children’s faces. Between 
are winged dragons terminating in voluted scrollings of acanthus 
leaves. The ground of the frieze is painted in blue; all else is 
gilded over a red ground. 


Height, 7 feet 714 inches; width, 6 feet 2 inches; depth, 1 foot 
2 inches. 


(Illustrated) 


Note: Barrili, who is the sculptor of a frame in the Villa Pia Collec- 
tion, was one of the most famous of Sienese carvers in wood, and is 
especially known’ by the elaborate picture frames he designed and 
carved, of which this is a typical example. 


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pOASPUECRUSAUBORONVUNBUEUUREDEUS VON EUSCHEPLURNRPUALRURPRULCFUESECENDEVOCEULED UE POLED NERiy)) 

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RRS a AE et a AL ; Es ay Ae Say. ea! 


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ee hier ee pees eres 


By Barritt oF SIENA 


No. 4544. Firreentu Century SIENESE CARVED AND GiLttT Woop Frame 


EPELVVIVELILILE 


aooTy Gan [—TIVH LVaIXy) -AOWIVG WVZNVAV(T 


eR HUEGG 


BIER 


FOURTH AFTERNOON’S SALE 
FRIDAY, NOVEMBER 24, 1916 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 455 to 609, inclusive 


FURNITURE OF THE FIFTEENTH, SIXTEENTH, 
SEVENTEENTH AND Sen ae fasta SOE Tae tee 


a LRA Wao 


455—EIGHTEENTH CrENnTuRY ITALIAN ae Box 
Circular form, decorated with a “chip-carved” pattern and with 


ot ‘— asquare hanger. 


Height, 51% inches. 


456—EIGHTEENTH Crntrury Iranian Watntt Sait Box 
Square box, with rising pointed hanger carved with a rosette 
L705 of whorls. The front of the box is carved with a leaf rosette and 
‘the sloping lid is hinged with loops of cord. 
Height, 8°4 inches. 
{ of et 
LLY AL NV if ACEH 
457—Eicgureentiu Century Botoaness Wannut Sart Box 
Square box, with sloping hinged lid, shaped, pierced and carved 
4 / °— rising hanger above drawer beneath and molded base. ‘The box 
and drawer front are decorated with raised shaped panels and 
with the incised date “1761.” 
Height, 1244 inches. 


Co. 


458—SIXTEENTH CENTURY ITALIAN Watnut KircHen MILL 


Turned body, of squat baluster design, on a square base, with 
drawer on one side. Iron grinding crank, with turned wooden 


handle. 
Height, 13 imches. 


~ tipo (3 gee 


459—SIXTEENTH CENTURY ITALIAN CARVED WALNUT BELLOWS 


ga" 


Circular body, with handles carved with acanthus leaves and 
fluted baluster-shaped nozzle ending in an iron pipe. The body 
is carved with a wreath of laurel leaves enclosing a circular 
scrolled cartouche with a beaded edge. The sides are of leathern 
folds. 

Length, 2114 inches. 


i aN 


OLy, Loe ae Ut AcLre- 
460—SIXTEENTH CENTURY ITALIAN WALNUT PrstLe AND Morar 
Mortar formed as a molded and fluted column on a spreading 
a. NAS fluted base, with a scrolled double-loop handle at one side. The 
she pestle is of evlindrical shape, with ball-shaped handle. 


Height, 2914 inches. 


{5 YA Sar RSG — 
SEVENTEENTH CrentTURY ITALIAN Watnut Book “Rust 


461 
Tablet-shaped, with broken pedimented top enclosing a carved 


btOo coat-of-arms and supported by voluted shaped pilasters. Carved 
and voluted book-ledge and folding support. 


Height; 9°4 inches; rails 101% inches. 
/ A wos 
462—SEVENTEENTH CrentTurRY ITALIAN WoopEN Hartrack 
Lozenge-shaped back, with semicircular hat-holder. Fronts 
— 5 “— carved with rosettes, stars and the initials “F. B.” Traces of 
gilding. 
Height, 1414 inches. 


nae 
468—S¥ alk 


SEVENTEENTH CENTURY ITALIAN Hancoinc HatTrack 


Lozenge-shaped back, with semicircular projecting hat-holder. 
32% Fronts carved with a vase of conventional scrolled flowers, the 
name “Filippo Berari” and the date “(16)78.” 


Height, 151% inches. 


TVA 
464—SIxTEENTH CrenTuRY I[TaLIAN WaALNuT PaPEeR PRESS 

Molded and fluted base, with two perpendicular screws at either 
ae ,. side. On these revolve the carved wooden S-shaped plates by 
«which pressure was applied. The upper surface of the stand 

is decorated with an incised medallion. 
Height, 1444, mches. 

2 7 


pf 


LIC CA 


465—FirrrENtH CENTURY Umspritan Woop Ca 


Rectangular shape, with incurved domed and molded lid, below 
{]5 which is a modillioned course. Decorated in “graffito” work, ona 
dotted ground, with a design of Gothic floral scrollings and 
gilded over a red ground. 
Height, 7 inches; length, 22% inches. 


YUNA - ae 
466—FourtEentH Century Umprian WoopEN COFFER 
Oblong shape, with hinged, gabled lid. The sides, ends and lid 
—, 2 are decorated with vertical rows of shield-shaped depressions 
| painted with various coats-of-arms, among which the Lilies of 
France and Lion of England frequently recur. These rows are 
separated by half-round ribbings of wrought iron. 
Height, 634 inches; length, 20%4 inches; width, 6 inches. 
Yr: (9 anreyrgarting Wer 
467—SEVENTEENTH CENTURY ITALIAN Watnut SMALL Boox Rest 
Rectangular frame, formed of turned spindles, with adjustable 
> leg and back and turned book supports. 


Height, 8 nF. length, 12 inches. 

Oannrde | See LALY~ 
468—SEVENTEENTH CENTURY ITALIAN WALNUT yes Boox REst 
Desk-shaped, with incised ornamentation of lozenge-shaped 


medallions and interlacements. The sides have molded panels 
-— ~+:+ and the front forms a shaped projecting ledge. On molded base. 


one Moldings and incised lines gilded. 
Height, 61, inches; length, 17 inches; width, 9 inches. 
Werr Ge 6 vee nen 
469—EIGHTEENTH CENTURY ITALIAN WALNUT Work TABLE a () 
330° . Oblong top, with plain molded apron and four spirally turned 


legs with turned bell-shaped feet, turned side rails and spirally 
turned longitudinal stretchers with turned finials. 


Height, 234% inches; length, 3234 inches; width, 2214 inches. 


fi bt hdd Lh bidisthdbddhdddd dddcbwrrr RRR DOA ML A 


: NUR DUNUNENN une Co SRTENIE 


la 


y oe 
ie - we wu Ke 


470—SIXTEENTH CENTURY TUSCAN WALNUT H4ncrnc HatTrRACK 


Rectangular table shaped. Molded carved and dentelled cor- 
nice, with a deep frieze, forming the hatrack, divided into six 
molded panels occupied by carved quatrefoiled leaf ornamenta- 
tions with turned hat-pegs projecting from the centers. Molded 
and carved base and carved mask shaped side-brackets. 

Height, AU inches; Pi bee 3 feet 7 mches. 


yD -_ 


han)! 
WRAL Pei es g 


471—FourtreentuH Century IraniAN Casket 


Rectangular shape, with domed hinged lid. Decorated in 
“nastiglia” or gesso-like composition with raised designs, the lid 
with two ladies in a walled garden and a knight on horseback, 
the front with a man and woman embracing, and a standing 
figure of a man, the sides and back with heraldic birds. Al on 
grounds of a dotted pattern, gilded and colored. Loop handle, 
hasp, back plate and angle pieces of wrought iron. 


Height, 614 inches; length, 1014 inches. 


Note: Such caskets as these, containing jewelry or other valuables, 
were presented to brides. 


SK // 
: 


es SoD See 
472—S1txTEENTH CENTURY ITALIAN CASKET ALLL 


Rectangular shaped, with domed hinged lid. Covered with 
brown morocco leather, tooled and gilded in a design of panels 
occupied with cornucopie and arabesque scrollings, one semé 
with large fleurs-de-lis. In front of the lid is a shield with a coat- 
of-arms, Wrought-iron hasp. 


Height, 7% inches; length, 12% inches. 


\ A 
Vigt 
473—SIXTEENTH CENTURY ITALIAN ALNUT HATRACK 


OL 


4.7 4—§ 


Sao iia 


1 


oS 


/UY 0 


476— 


A 


ett J 


Back boldly carved in the form of a gadrooned vase surmounted 
by scrollings and with a turned knob forming the hatholder. 


Height, 201% inches. 


WW b: oe. 
SEVENTEENTH CENTURY ITALIAN WaLwutT SI x Winpgik 
Of spinning-wheel type, with turned wheel between two 
cylindrical supports and hook-shaped winding device. On cir- 
cular stand with three turned spreading legs and treadle. 
Height, 3 feet, 214 inches. 
(Illustrated) 


y/| 


y 
ya 
SEVENTEENTH CENTURY ITALIAN W. (LNUT SiLK WINDER 


Pivoted adjustable winding reel on turned baluster-shaped 
stem, with three turned legs on turned and finialed “bell” feet. 


Height, 3 feet 111% mcehes. 
(Illustrated) 


A Wer (3 Saeed 


‘SEVENTEENTH CENTURY ITALIAN Watwor SPINNING WHEEL 
Spinning wheel with all attachments, including the long pointed 


,. distaff with pierced pear-shaped distaff and small drawer. On 
four slender spreading turned legs and four turned feet, with 


spindled gallery above and spindled foot-rest. 
Height, 2 feet 234 inches. 
(Illustrated) 


Note: This spinning wheel is interesting owing to its absolutely per- 
fect state of preservation as well as its exceptional patina. 


474 AT6 475 


No. 474. SeventEENTH Century Travian Waunut Sitk WINDER 
No. 475. SEVENTEENTH CEentTuRY Travian Waunut Sirk WINDER 


No. 476. SEVENTEENTH CrentTURY ITALIAN WaLnut Spinninc WHEEL 


ATT 478 


477—SEVENTEENTH CENTURY ITALIAN ReceeeS RusH- a 


CHAIR 
/s <— Square backs, with square side supports, shaped back-rail carved 
with rosette, horizontal splat with turned spindles, straight legs 
and rush-bottomed seat. 


4.78 —SEVENTEENTH Century [raLIANBrEECH Woop RUSH-BOTTOMED 

ee CHAIR 
ane ~ Square back, with square side supports, shaped back-rail carved 
with rosette, horizontal splat with turned spindles, straight legs 


and rush-bottomed seat. 
) 4 
si ae 8 ee df Lanna Uginwt 


479—SEVENTEENTH CEenturyY IraALiAN BrEcCHWoop RuUSH-BOTTOMED 
er CHAIR 
© Y ~~ Square back, with square side-supports, shaped back-rail carved 
with rosette, horizontal splat with turned spindles, straight legs 
with square front rails and rush seat. 


1 QC rh dinrg 
480—Two SEVENTEENTH CENTURY ITALIAN /BEECHW6O ee 


BOTTOMED CHAIRS 
“7, @£ Square backs, with square side supports, shaped back-rail and 
CU q q pp p 
horizontal splats with turned spindles, straight legs and rush- 


bottomed seats. 


v 


| 481—Two SEVENTEENTH CENTURY Irahtan BrEcHweop RUSH- | 
{ ait’ BOTTOMED CHAIRS or Tarr Tromeh_ 
Square backs, with square side supports, shaped back-rail and 
horizontal splats with turned spindles, straight legs and rush- 
bottomed seats. 


Then -™M- ee 


482—SEVENTEENTH CENTURY ITALIAN BEECHWOOD RUSH-BOTTOMED 
CHAIR 
34 se square back, with square side supports, shaped back-rail and 
— 


~ horizontal splat with turned spindles, straight legs and rush- 
bottomed seat. 


wee) barre ae 


483—FirrEENTH Century Iranian WALNUT “TyYROLEAN” CHAIR 
Shaped and pierced back, decorated with shallow carvings of a 
a! 5% ‘— geometrical design and with incised circles The seat is deco- 
rated in a similar manner, its front edge being carved in a chip- 
carving pattern, as are also the straight, spreading square legs 

and the square front rail. 


484— Harty SIXTEENTH CENTURY Tse WALNUT Came 
= Sgabello character. F'an-shaped back, divided vertically into 
5 ‘— two molded panels, with shaped, carved and scrolled head-rail. 
The front lyre-shaped leg is carved with acanthus-leaf scrollings 
closing a carved rosette. 


ne Es Soya gee 
485—Firreenta Century Tuscan Watntr Cua 

Sgabello character. Fan-shaped back, divided vertically into 
two molded panels and with a projecting shaped head-rail carved 
) s 4% ~~ with rosettes and the coat-of-arms of the Della Bella family. 
The octagonal seat has a square box support with paneled sides, 
and the front lyre-shaped leg is carved with volutes and acan- 

thus leaves. On a molded base and bracket feet. 


ea 
TV o-™ o- \. > (+ Rh 
486—SIxTEENTH CENTURY BoLOGNESE WaLNUT CHILD’s CHAIR : 
Straight back in two divisions, with carved finials, straight arms 
and straight square legs, the front ones connected by a carved 


/ oy ea footboard. 


Loe 


Thr -%. CO of 
487—Two SIxTEENTH CENTURY UMBRIAN WALNUT Auk HAIR 


Straight backs, with square side supports ending in turned finials 

ce and with plain horizontal splats supporting, by arcades of four 
turned spindles, shaped top rails carved with the coat-of-arms 
of the Vitelli di Citta di Castello family surmounted by a bishop’s 
hat. 'The straight arms are supported on turned columns, the 
straight legs are square, the broad front rails are pierced in a 
geometrical design and the side and back rails are square. Re- 
markable patina due to age. 


488—Two SrxTEENtTH CENTURY UMBRIAN WALNUT ARMCHAIRS 


e¢ Similar to the preceding. 


~~ 


2 gw a WV Ugtin'e- 


a 


LAA 
489—Two Sixreenro Century UMBRIAN W ALNUT earn es 


Straight backs, with square side supports ending in turned finials 
and with plain horizontal splats supporting, by arcades of four 

og) turned spindles, shaped top-rails carved with the coat-of-arms 
of the Vitelli di Citta di Castello family, surmounted by a 
bishop’s hat. The straight arms are supported on turned col- 
umns, the straight legs are square, the broad front-rails are 
pierced in a geometrical design and the side and back rails are 
square. Remarkable patina due to nee 


( A. “| soar nn “Lawn 
490—Two SrxTEENTH CENTURY UmBRIAN WALNUT ARMCHAIRS 


Fro * Similar to the preceding. 
oN a 
VL VV -( Jarmga tALCAAS Sa 
491—Two SrixTEENtH CENTURY UmMBRIAN WALNUT ARMCHAIRS 
Straight backs, with square side supports ending in turned finials 
and with plain horizontal splats supporting, by an arcade of 
oes four turned spindles, shaped top rails carved with the coat-of- 
’ 7U © arms of the Vitelli di Citta di Castello family, surmounted by a 
bishop’s hat. The straight arms are supported on turned col- 
umns, the straight legs are square, the broad front-rails are 
pierced by a geometrical design and the side and back rails 
are square. Remarkable patina due to age. 


K/ \= : of P44 
~- = Na St 48 
492—-T'wo SIxTEENTH CENTURY UMBRIAN WALNUT ARMCHAIRS 


/Sd — Similar to-the preceding. 


Two SrxTeEENtH CEentTURY UMBRIAN WaLNuUT ARMCHAIRS 


493 
Straight backs, with square side supports ending in turned 
finials and with plain horizontal splats supporting, by arcades 

Pe sv ‘<_ of four turned spindles, shaped top-rails carved with the coat- 
of-arms of the Vitelli di Citta di Castello family, surmounted 
by a bishop’s hat. The straight arms are supported on turned 
columns, the straight legs are square, the broad front-rails are 
pierced in a geometrical design and the side and back rails are 


square. Remarkable patina due to age. 
494—Two SIxTEENTH CENTURY UMBRIAN meee ecelere C 


7 Similar to the preceding. (/ 
37 Sf 


495—Two StxTEENTH CENTURY UMBRIAN WaLNUT ARMCHAIRS 


Straight backs, with square side supports, ending in turned 
finials and with plain horizontal splats supporting, by arcades of 

73 0 = four turned spindles, shaped top rails carved with the coat-of- 
arms of the Vitelli di Citta di Castello family, surmounted by 
a bishop’s hat. The straight arms are supported on turned 
columns, the straight legs are square, the broad front rails are 
pierced in a geometrical design and the side and back rails are 
square. Remarkable patina due to age. 


6 roe Petar See ) 
496—SIXTEENTH CENTURY ITALIAN Wee Ted biden «.. 


Curved sides and legs formed of eight square interlacing sup- 

ah aia ports pivoted so as to fold. Straight carved arms terminating 
in carved rosetted scrolls; shaped back, with elses shield in 
center and straight base-rails. 


497—SIXTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA’” CHAIR 


— 


Usd Similar to the preceding. 


KX) nner Ce 
498—Sixreentu Century [ranian WaLnut “SavoNnaroLa” CHAIR 
Curved sides and legs of eight interlacing square supports piv- 
Cn ie oted so as to fold. Straight scrolled arms, with carved rosettes. 
Shaped back, with incised shield. 


We an sthane 


499—SIxTEENTH CENTURY ITALIAN WALNUT CHAIR 


Straight back, divided into four raised panels by molded stiles. 
/ > 0+ ‘Turned legs and front rail, with molded side rails and stretched 


( wooden seat with molded edge. 


500—FIFTEENTH CENTURY ITALIAN how C Gan HA 


Closed on three sides by the back and arms, the former decorated 
2 © G “with lozenge-shaped rosetted panels, the latter scrolled. The 
seat is formed as a paneled box. 


N WALNUT SMALL iON OTS 

CHAIR / ( thar \ 7 . 

i a Curved sides and legs formed of eight interlacing square sup- 
ports pivoted so as to fold. Straight arms, scrolled and rosetted 
and shaped back with an incised shield in the center. 

Note: Chairs of this size are rarely met with. 
re 
© Ce Lares 
502—SixTEENTH CENTURY ITALIAN WALNUT “SAVONAROLA” CGraIR 
Curved sides and legs formed of eight square interlacing sup- 
5 7 a ports pivoted so as to fold. Straight scrolled arms, shaped 


back and straight base-rails. 
Va (oa 


Wirr tint (Ir 4: 


503—SIxTEENTH CenturRY [rattan WALNUT “SAVONAROLA” CHAIR 

Curved sides and legs formed of nine square interlacing sup- 

Gap ports pivoted so as to fold. Straight arms, with bell-shaped 
oy ends, shaped backs and straight base-rails. 


M \r 
504—SIxTEENTH Century ITALIAN WALNUT “SAVONAROLA”’ CHAIR 
Curved sides and legs formed of seven square interlacing sup- 
ag ports pivoted so as to fold. Straight scrolled arms carved with 
yo rosettes, shaped back with incised shield in center, and straight 
base-rails. 


Curved sides and legs formed of eight square interlacing sup- 
ports pivoted so as to fold. Straight arms with scribed lines; 
wes — shaped back, decorated with dotted ground and straight base- 
rails. 
oF AVN. © PV-O 
506—SIXTEENTH CENTURY ITALIAN Watnur® ‘SAVONAROLA” CHAIR 
Curved sides and legs formed of eight square interlacing sup- 
ex, +“ ports pivoted so as to fold. Straight arms, with scrolled ends 
carved with rosettes, shaped backs and straight base-rails. 
I {/ 
507—SIXTEENTH Century IraLian WALNUT “SAVONAROLA” CHAIR 
Curved sides and legs of nine square interlacing supports pivoted 
1500 «so as to fold. Straight scrolled arms carved with rosettes; 
shaped back, with incised shield in center and straight base-rails. 


~F60 


ta 
508—SIXTEENTH CENTURY ITALIAN IRON AND Brass FALpD-sToou 


oe 


—— 


Wrought-iron feet, with rounded corners. ‘T'wo arms of bronze, 
formed of turned baluster-shaped uprights terminating in large — 
balls and connected by two turned bronze cross-pieces. Curved 
seat, with old red velvet cushion and silk fringe. Around the 
ball finials is engraved: “Celsus Americus Turcus. A Senis 
Romanus Abbaa 1601+ D”. 


509—SIxTEENTH CrentTURY ITALIAN WaLNutT PRrik-pieEU CHAIR 
Back with carved side supports and sloping top-rail serves as 
ou = a prie-dieu. The shaped legs are crossed and connected by 
turned rails. The seat is of old red velvet. 


io 


510—'T'wo SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 


High square back, with carved and gilded acanthus-leaf finials. 
Straight molded arms on square supports, square legs and 
square side-rails. Covered with old leather secured with large 
brass-headed nails. 


ie SF: (Sak lara 
511—Two SrxreentH Century Iranian Watnut Leatuer- 
COVERED CHAIRS . 

eo High square backs, with square side supports and carved and 
gilded acanthus-leaf finials. Square legs, with shaped and 

pierced bracket seat supports and square side-rail. Seats and 

backs covered with old leather, with a gilt-tooled border around 

the backs. Fastened with contemporary large brass-headed 


nails. Y y 
7) a y / 
Via TeV Nay 
512—Two SIXTEENTH CENTURY ITALIAN WALNUT LEATHER- 
COVERED CHAIRS 
sv 0 Similar to the preceding. 


Near: (3 plea 
518—SEVENTEENTH CENTURY IraLIAN WaLNut LarGr ARMCHAIR 
High straight back, with large pierced and gilded scrolled 
finials. Carved, molded and scrolled arms on turned baluster- 
agi shaped supports. Turned front and legs and base-rails ending 
in lions’ paws. The seat and back are covered with red old 
velvet with wide border of woven and gold braid. 'There is a deep 
skirting around the seat of red velvet edged with gold braid. 


Height, 4 feet 11 inches; width, 2 feet 5% inches. 


Note: This chair has an extra tooled leather cover of the epoch. 


514—SEVENTEENTH CENTURY ITALIAN WaLnut LAarcE ARMCHAIR 


Similar to the preceding. : 
ieee imilar to the preceding © WV aBe y roe 


Note: This chair has an extra tooled leather cover of the epoch. 


515—SEVENTEENTH CENTURY ITALIAN WaLNuUT LARGE ARMCHAIR 


High straight back, with large pierced and gilded scrolled 
finials. Carved, molded and scrolled arms on turned baluster 
shaped supports. Turned front and legs and base-rails ending 
in lions’ paws. The seat and back are covered with red old 
velvet with wide borders of woven gold braid. There is a deep 
skirting around the seat of red velvet edged with gold braid. 


Height, 4 feet 114% inches; width, 2 feet 5% inches. 


Note: This chair has an extra tooled leather cover of the epoch. 


ae iA 
~. Vr Lt, Pipe; ern 


516—SEVENTEENTH CENTURY ITALIAN WaALNuT LARGE ARMCHAIR 


Similar to the preceding. 


Note: This chair has an extra tooled leather cover of the epoch. 


Q- yv~ Peete L. LM 

517—Suventeenty Century [rarian Watnur Larcs ArMcHam 
High straight back, with large pierced and gilded scrolled 
*) ‘¢ finials. Carved, molded and scrolled arms on turned baluster- 
shaped supports. Turned front and legs and base-rails ending 
in lions’ paws. The seat and back are covered with red old 
velvet with wide borders of woven gold braid. There is a deep 

skirting around the seat of red velvet edged with gold braid. 


Height, 4 feet 111% inches; width, 2 feet 51% iches. 


Note: This chair has an extra leather cover of the epoch. 


518—SEVENTEENTH CENTURY ITALIAN eas Larcre ArRMC a2, 
Similar to the preceding. ¥- 7 - F ‘ 


Note: This chair has an extra leather cover of the epoch. 


519—Suventeenru Cunrury [rarian Warnut LARGE ARMCHAIR 
High straight back, with large pierced and gilded scrolled finials. 
.,. Carved, molded and scrolled arms on turned baluster-shaped 
with a supports. ‘Turned front and legs, and base-rails ending in 
lions’ paws. The seat and back are covered with red old velvet 
with wide borders of woven gold braid. ‘There is a deep skirting 
around the seat of red velvet edged with gold braid. 


Height, 4 feet 114% inches; width, 2 feet 51% imches. 


Note: This chair has an extra leather cover of the epoch. 


Daf 


520—SEVENTEENTH CENTURY ITALIAN WALNUT LARGE ARMCHAIR 
Similar to the preceding. 


j € vu . . e 
ss a 5 a7 Note: This chair has an extra leather cover of the epoch. 


W 
521—SEVENTEENTH CENTURY ITALIAN lorena Cie ARMCHAIR 


High straight back, with large pierced and gilded scrolled finials. 
Carved, molded and scrolled arms on turned baluster-shaped 
os + supports. Turned front and legs, and base-rails ending in lions’ 
paws. The seat and back are covered with red old velvet, with 
wide borders of woven gold braid. There is a deep skirting 
around the seat of red velvet edged with gold braid. 
Height, 4 feet 11% inches; width, 2 feet 51% inches. 


Note: This chair has an extra leather cover of the epoch. 


522—-SEVENTEENTH CENTURY ITALIAN WALNUT LARGE ARMCHAIR 


Sy thn Le 


rials pe Similar to the preceding. (> af |) ~ ee ia Coe 


Note: This chair has an extra leather cover of the epoch. 


oy 


f () 
KS ANAL ee 


5283—Two FIFTEENTH CENTURY FLORENTINE WALNUT STOOLS 


Of Sgabello form. The supports are carved and pierced in a 
design of bold scrollings enclosing two rampant lions which 
hold between them floral rosettes surmounted by birds; below 
are crests of a star resting upon a heraldic mountain. The feet 
are formed as lions’ paws. ‘The square seats, with circular de- 
pressions and pierced hand-holds for carrying, are supported 
on paneled plinths. 


524—Two SIXTEENTH CENTURY ITALIAN WALNUT LEATHER- 


COVERED ARMCHAIRS Kot) 


Ai 


High square backs, with small aie weary finials, Straight 
chamfered arms on square supports, straight square legs and 
square side-rails. Covered in old leather, the backs tooled 
and gilded in a design of a central quatrefoiled medallion with 
smaller leaf-shaped medallions in the angles. Secured with 
large brass-headed nails and finished with a deep knotted fringe 
of red silk, 


} 
525—T'wo SEVENTEENTH CENTURY ITALIAN WALNUT ARMCHAIRS 
High straight backs, with carved acanthus-leaf finials, the head- 
+. 9 °“— rails carved with flowers and leaves and a coat-of-arms in the 
center, carved and pierced horizontal splats, straight molded 
arms on square supports, straight square legs, broad carved 
front-rails and shaped side-rails. Square wooden seats. The 
carving is picked out with gilding. 


526—Firrrentu Century Iranian Watnut Sfratt Cuarr 
Upper part of “Dante” chair type. The shaped wooden back 
ve carved with voluted scrolls, the arms shaped and the square arm 
supports carved. The seat is formed as a square box, with 
paneled fronts and sides on shaped bracket feet. 


527—SIXTEENTH CrentTUuRY ITALIAN Aportiheat S SCALES 
Walnut stepped base in three divisions, with moldings above 
and below, and standing on four lions’ paw feet. The scales are 
hung on a turned and floriated standard with a finial of scrolled 
ironwork, and consist of circular brass pans resting on project- 
ing circular-topped brackets. 


_ Height, 2 feet 41% inches. 


S rKol y gaat © Cle 


528—SIXTEENTH CENTURY ITALIAN WALNUT Peaece Hae 
Rectangular shape, with molded and carved cornice and base. 
The front is decorated with a lozenge-shaped patterning inlaid 
with lighter-colored woods. 


Height, 3 feet 8 inches; length, 2 feet 5 inches. 


529—SrixTEENTH CrentuRY IraLiAN Watnut Wau CABINET | 


_ Rectangular form, with molded and dentelled cornice and 
>-6 0 °= molded base. The two hinged doors are glazed, the frames 
being decorated, in “pastille” composition, with a painted pat- 

terning of interlaced scrollings in relief. 


(\ lv WN \ 
530—SIXTEENTH CENTURY IraLIAN WatNut WALL CABINET 


a fhage Similar to the preceding. 


of is ae ee 

ay yim ado fw 
531—SEVENTEENTH CenTURY ITaLIAN WaLNuT LINEN PREss 
Formed of two square upright supports decorated with flutings 
with ebony inlays, applied ebony spindles, and ending in turned 
finials. These support an inlaid crossbar strengthened with a 
brass plate through which the wooden screw descends to a 
molded base, fitted with a drawer having a wooden knob. 


Height, 2 feet 9 inches; width, 22 inches; depth, 19 inches. 


5382—FIrrEENTH CENTURY ITALIAN WALNUT COFFER AND STAND 


Rectangular coffer. The interior of the hinged, molded and 
overlapping lid is inlaid with geometrical designs. The front 
of the coffer is bordered with bands of incised lines, and pro- 
jecting diagonally from the corners of the wrought-iron lock are 
pierced and chased medallions of wrought iron sunk into the 
wood. ‘The wrought-iron hasp is enriched with a chased pattern- 
ing and at each end are swinging wrought-iron carrying handles. 
The stand has four straight square legs, a shaped apron and a 
square front rail. 

Height, 3 feet 21% inches; width, 2 feet 7% inches; depth, 1 foot 

534 inches. 


533—SIxTEENTH CENTURY VENETIAN WaLNvuT CENTER Taps 

Square, plain, heavy top with paneled apron, fitted in front with 
a single large drawer with two wooden knobs. Supported in 
the middle by a turned baluster-shaped pedestal to which con- 
verge from the angles four heavy shaped and voluted carved 
brackets supported on crouching lion-like animals on molded 


bases. 


Height, 2 feet 8% inches; length, 3 feet; width, 2 feet 10% inches. 


AD Vem e ne (Sr a 


584—SIXTEENTH CENTURY UMBRIAN WALNUT CENTER TABLE 


Pood 


Oblong molded and dentelled top, with a deep apron carved 
in a bold rosetted pattern and divided, in front, into two drawers 
with fronts carved to correspond; wooden knobs. JLyre-shaped 
legs carved on the fronts, with large rosettes and shaped carved 
and keyed longitudinal brace. On shaped and carved rails end- 
ing in lions’ paws. 


Height, 3214 inches; length, 87 inches; width, 28 inches. 


585—Earuty SIxTEENTH CENTURY UMBRIAN WALNUT CENTER 


7T5G La 


TABLE Vpn 
Heavy octagonal top on square molded frame, with rounded 
corners, the apron of which is decorated with raised panels and 
fitted on one side with drawer having paneled front and wooden 
knob. Four turned baluster-shaped columns serve as legs and 
in the center is a pedestal turned to correspond. On square 
block feet and square molded cross stretcher. 


Height, 2 feet 7 inches; diameter, 4 feet 1 inch. 


bea 


ire TG 


536—SIXTEENTH CENTURY FLORENTINE WALNUT CENTER TABLE 


Octagonal molded top, with heavily molded apron, fitted with 
drawers with wooden knobs. This is supported on four voluted 
bracket legs meeting in the center, with a square molded pen- 
dant, and ending in lions’ legs and paws. On an octagonal 


molded base. 
Height, 3 feet; diameter, 4 feet 414 inches. 


D Teenn (Sraaceh 
5387—EarLty SIXTEENTH CENTURY Tuscan WALNUT TABLE 

Square top, with plain apron; on square pedestal with shaped 
brackets carved in low relief with an imbricated pattern en- 
closing circular medallions. The projecting base-rails are 
shaped and carved in a similar manner, while the pedestal is 
fitted with two deep drawers having paneled fronts and wooden 
knobs. 


Height, 2 feet 834 inches; length, 3 feet 834 inches; width, 3 feet 
6 inches. 


5388—FIFrFTEENTH CENTURY FLORENTINE WALNUT CABIN 


Rectangular shape. Oblong top, with surface inlaid with mono- 
[ Tee gram and lozenges, the molded apron being fitted on one side 
7 2 ~~ with two drawers having turned wood knobs. The pedestal is 
formed as a rectangular cabinet, with two hinged doors having 
molded and lozenge-shaped raised panels divided by molded and 
raised panel of pilaster form. Molded base on projecting 

shaped base-rails terminating as lions’ paws. 


Height, 2 feet 934 inches; length, 5 feet 8°4 inches; depth, 3 feet 


41/, inches. 
Nee Aerobie 


5389—SIXTEENTH CENTURY FLORENTINE ee te TABLE 
Duodecagonal heavily molded top, on ae oe Reese turned 
pedestal, square molded base with incurved sides and carved 
lions’ paw feet. 


og, 


Height, 2 feet 74% inches; diameter, 4 feet 11 inches. 


540—FirvreentH Century VENETIAN WALNUT TABLE 
Oblong top, with molded and fluted edge and deep bowed and 
‘* carved apron. The table stands on two lyre-shaped and scrolled 
supports, with scrolled and voluted base-rails, while there is a 
shaped longitudinal brace directly beneath the apron. 


Height, 2 feet 814 inches; length, + feet TY inches; width, 3 feet. 


Vase Ob 


541—Srxteento Century Iranian [yiam WoopEN SETTLE 


Rectangular shape. Back divided into three raised panels with 
a dentelled top molding. The seat formed as a box with hinged 


S es A ° ° 
7S lid. Shaped arms and aprons and straight sloping legs. 
Height, 8 feet 31% inches; length, 4 feet 114 inch. 


Wr ee (-- Thrayrre 


542—S1IxTEENTH CENTURY ITALIAN InNLAID WoopEN SETTLE ( 


Sey vv 


Ce 


) _ Similar to the preceding. 


543 —FIrTEENTH CENTURY UMBRIAN WALNUT TABLE 


fo 


Y 


Aa~tw0nr PUL. 

Of primitive character. Oblong plain top, with deep apron 
_. carved in a pattern of Gothic geometrical interlacements. ‘The 
plain straight square legs rest on shaped base-rails of scrolled 
outline and are connected by a square keyed longitudinal brace. 


Height, 2 feet 7 inches; length, 4 feet 4 inch; width, 3 feet 444 


inches. 
Rilcich 


; OAL KN 


544—LaATE SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


Rectangular shape. The carved and molded cornice and frieze 
are supported by three modillioned and carved pilasters which 
divide the front into two hinged and paneled doors with bronze 
handles. In the frieze above is a long drawer, also with bronze 
handle. The molded and carved base is supported on four lions’ 
paws. 


Height, 3 feet 3 inches; length, 4 feet; width, 1 foot 914 inches. 


545—SIXTEENTH CENTURY FLORENTINE WaLNUT CABINET 


Rectangular shape. Oblong molded cornice top and frieze 
decorated with shaped panels of inlay separated by square dies. 
Below, the front is divided by three fluted and astragalled Ionic 
pilasters, and between them two hinged and paneled doors with 
turned center knobs. ‘The plinth below is inlaid in a geometrical 
patterning with colored woods, and the base is molded. The 
ends are paneled and flanked by pilasters which correspond to 
those in front. 


Height, 3 feet 8% inches; width, 5 feet 9 inches; depth, 8 feet. 


XI 0 


546—SIXTEENTH CENTURY FLORENTINE RITING CABINET 


— 


VY 
Rectangular shape. The oblong top is molded and the frieze 


is divided by pilasters into eight panels carved with rosettes 
having projecting knobs in their centers, and is arranged as two 
large drawers with looped drop handles of bronze. The under 
part is flanked by two carved bracket supports with fronts 
carved in an imbricated pattern, and is divided into four molded 
panels, those in the center forming hinged cupboard doors. The 
base is molded. 
Height, 2 feet 714, inches; depth, 5 feet 1 inch; width, 2 feet 11% 
inches. 


Ce | y 
VAX (IZ 


547—SIxTEENTH CENTURY BOLOGNESE WALNUT CABINET 


IA gte 


Rectangular shape, with plain oblong top and frieze divided by 
three pairs of projecting dies into two drawers with raised pan- 
eled fronts and wooden knobs. The body is divided by three 
sets of twin Doric pilasters into two cupboards, having hinged 
doors with shaped and raised panels. he pilasters rest upon 
projecting shaped twin brackets, and these, in their turn, upon: 
squat turned legs of baluster shape with square molded bases. 
There are turned legs to correspond at the back. 

Height, 3 feet 7% inches; width, 5 feet 6 inches; depth, 2 feet 1 

inch. 


548—SIXTEENTH CENTURY FLORENTINE WALNUT CABINET 


peo — 


Rectangular shape. Oblong top, with molded and dentelled 
cornice, below which is an apron divided in two panels by three 
pilaster-like brackets, their fronts carved with oval depressions. 
Below, the body is flanked by two fluted and astragalled Ionic 
pilasters, and arranged as a cupboard, with two hinged paneled 
doors, carved in with elaborate circular acanthus-leaf rosettes 
in the center of which are wooden knobs. The base is molded. 


Height, 3 feet 7 inches; length, 4 feet 2 inches; depth, 2 feet 1 inch. 


549—SIxTEENTH CENTURY Tuscan WALNUT BencH 


UU 


Rectangular shape. The straight square back has a molded 
cornice and frieze supported by a row of nine turned baluster- 
shaped columns on high cylindrical pedestals, the seat has a 
molded edge and the two fluted side supports are of bracket 
shape with lions’ paw feet on molded base rails. 


Height, 3 feet 111% inches; length, 4 feet 11% inches. 


550—SEVENTEENTH CENTURY ITALIAN WaLnut Mania 


oats 


Rectangular shape, with hinged molded top. The upper part 
is formed as a long shallow bread-box, while below are three 
drawers with wooden knobs, and a cupboard with two hinged 
doors with wooden knobs and pivoted catches. The fronts of 
the bread-box, the drawers and the hinged doors have molded 
panels and the latter are separated by three panels molded to 
correspond. On two shaped bracket ends with square base 
rails. | 

Height, 4 feet 1 inch; width, 5 feet 34% inches; depth, 1 foot 7% 

inches. 


Me ie 

awd (3. gee 

551—F Iv TEENTH CENTURY FLORENTINE WALNUT ENCLOSED CHAIR 
Enclosed on three sides by paneled back and side, with molded 


3 STIL cornice forming an octagon. The seat is arranged as a cupboard, 
with a hinged panel projecting door. Molded base. 


fae 
~. 


Ah é W/ ay 
Va J IKAS AS ia La ee Ly 


552—SIxXTEENTH CENTURY ‘TUSCAN Woe eal CNSR 


ge 


Rectangular shape, divided horizontally into two portions. The 
upper portion is arranged as two shelves, molded fronts carved 
with flutings, shaped molded side brackets and molded cornice. 
Below are two drawers with paneled fronts and wooden knobs 
separated by three shaped modillions, and a cupboard with two 
hinged paneled doors with wooden knobs. On a plain molded 
base. 


Height, 6 feet 6 inches; width, 3 feet 10 inches; depth, 1 foot 10 
inches. 


553—SEVENTEENTH CENTURY eee W 


eC ie 


Nut Breap Box Anp 


STAND 


“Madia,” or bread-box, of rectangular shape. Formed as an 
oblong chest with hinged molded and domed lid, supported on 
a stand of four straight wide legs. The lid and sides are deco- 


rated with shaped and raised panels and a studding of round- 
headed brass nails. 


Height, 4 feet 3 inches; length, 6 feet 4 inches; depth, 2 feet 614 
mches. 


(Oo V- See i, Gee 


554—SIxTEENTH CENTURY ITALIAN WaLNutT SMALL BEpD 


Four turned and carved posts, those at the head rising and hav- 
ing between them a shaped headboard. Carved in a honeysuckle 


E and scrolled design enclosing an oval cartouche carved with a 


coat-of-arms. The end and sides are enclosed with arcadings 
of turned baluster-shaped spindles supporting molded rails, and 
with shaped aprons carved in a honeysuckle and scroll design; 
the legs are turned and carved with square block feet. Hxcep- 
tional patina. 


Height, 2 feet 8 inches; length, 4 feet 2 inches; width, 2 feet 814 
inches. 


{OG cae 
555—FIFTEENTH CENTURY enact TALNUT TABLE 
Oblong top, with plain edge, and apron fitted with drawers 
4 , , *having paneled fronts and wooden knobs. On six straight 
aphteeg square legs, with shaped brackets supporting the apron, and 
molded feet. Square side and end rails. 


Height, 3 feet; length, 10 feet 6 inches; width, 2 feet 8 inches. 
(Illustrated) 


556—FIrtrENTH CENTURY BoLOGNESE WALNUT TABLE 
Oblong plain top, with molded apron fitted with four drawers 
as with paneled fronts and wooden knobs. On four straight 
Ww square legs, with scroll-shaped brackets above, and shaped 
molded brackets finished with turned finials beneath. Deep 
molded side and end rails. 


Height, 3 feet; length, 10 feet 6 inches; width, 2 feet 8 inches. 


(Illustrated) 
a 
r 


( NY orruky 
557—SEVENTEENTH CENTURY UmpBrian Watnout TABLE 
Oblong top, with molded and carved edge, and molded apron. 
On two lyre-shaped legs, with carved volutings, shaped and 
scrolled longitudinal bases, and shaped and molded brackets. 


tae Height, 2 feet 8 inches; length, 13 feet 6 inches; width, 3 feet 3 
inches. 


ATaVy, LONIVAA aASAaNDVOTOG AWNING) HLINGALALY “99G “ON 


aTayv J, LONTV MA ASANDOTOY AWOLINGA) HINGALALY “G¢G “ON 


arent nectanamennenstrate tt ete ens 


AIaV], LANIVAA NVIYAW AYAINAD HINTALNAAAG—) GG 


INLAID AND PAINTED MUSICAL INSTRUMENTS 
OF THE XVIth CENTURY 


Three lutes, mandolas and bassi a corde which once hung upon the 
walls of Davanzati Palace remind us that, in the days when they were 
made, Italy, save for the folk-songs and the peasant melodies, com- 
prehended very nearly all that there was of music in Europe It 
was for this reason that the lute, the spinet, the harpsichord and even, 
in later days, the piano, were all Italian in their origin. Yet there is 
another quality possessed by all these which makes them worthy of the 
attention of others besides the lovers of music. Like everything else 
to which they put their hands, the sixteenth century Italians made 
these not merely musical instruments, but things of decorative beauty. 
The shapely inlaid bodies of the mandolas and lutes, the painted pat- 
terning of the wind instruments, make of each one of them, to-day, “a 
thing of beauty and a joy for ever.” 


H. T. 


MUSICAL INSTRUMENTS r 
Rtg Afi 


ae ie 
558—SEVENTEENTH CENTURY ITALIAN Hoan | 
Of brass curved, with spirally twisted mouthpiece and terminat- 
| “—— ing in a serpent’s head with wide-open mouth, naturalistially 


Sy) /' 
colored and decorated in low relief. 
Length, 22 inches. 
(Illustrated) 
Y ieee eS 
Nn Aa Ty VE Cn 
559—SEVENTEENTH CENTURY ITALIAN Horn Ae ies 


Of brass, spirally carved, with bracketed mouthpiece and ter- 
minating in a serpent’s head decorated in colors and gold in low 


te ese relief. 
Length, 24%, inches. 
(Illustrated) 
hi | Aa 4 
| WAVY: Deg ptf 
560—EIGHTEENTH CENTURY ITALIAN “SERPENTONE ( 
Spirally 


Wind instrument of wood and of the bassoon type. 
°_¢ OU ‘twisted mouthpiece of brass and stem of wood terminating in a 
brass serpent’s head, with colored and gilded decoration in low 


relief. 
Length, 451% inches. 
(Illustrated) 


561—SIXTEENTH CENTURY F'LORENTINE ksi HRS en 


Long straight cylindrical trumpet of brassy with two molded 
knops and flaring mouth. Attached is a white silk flag with 
the red lily of the Republic of Florence. The lip of the trumpet 
isengraved: “Benedettus, Benenatus. Fecit. Florenze. MDX”. 

Length, 4214 inches. 


Cae 
Y hr J 


ORDA” 


562—KIGHTEENTH CrntTuRY ITAaLiIan “Basso A 
String instrument of wood. Of pyramidal shape, with molded 
base. Straight bridge, tapering neck and scrolled head. Fitted 


Q oo 
Cat) 


Cam / 


(Illustrated) 


bY 


with a single string. 
Length, 6334 inches. 


(Illustrated) 


561 


559 


560 


No. 558. SEVENTEENTH CrentTURY ITALIAN Horn 
No. 559. SEVENTEENTH CrEnTURY Iratian Horn 
No. 560. E1gHTEENTH CenturY Iranian “SERPENTONE” 


No. 561. SixTEENTH CENTURY FLORENTINE Herawvp’s TRUMPET 


564 


a Onethe 


563—SIXTEENTH CrnTuRY ITaLIAN MANDOLA 

Mandola or cithern of wood, having a pear-shaped body, with 
circular pierced “rose” in the sounding board, straight neck, 
scrolled and double curved head, and ebony pegs. ‘The mandola 
(not to be confused with the mandolin) was strung with two sets 
of strings, one above the other, both being supported on molded 
bridges. 


gv 


Length, 393 inches. 
564—SIXTEENTH CENTURY ITALIAN LUTE va Te Va A y 
i be Pear-shaped body of wood, with pierced circular rose, straight 
4 £5. 


neck and tapering head set at an angle. 
Length, 851% inches, 


f 
i= rt eet Sy "aa ha ye La al ‘ya TTY) 1g 4 i TE : \ G 
565—SIXTEENTH SSN Foes AD ie we Biers dN 
Pear-shaped body of wood, with pierced circular rose, straight 
/ O70 “neck and tapering head set at an angle. 


Length, 39% inches.. 


ae 
566—SIXTEENTH CENTURY ITALIAN SPINET L é Ge BS en, mt 
Plain wooden case of pentagonal form, having a sounding board 
overstrung with wire, and a molded cornice and base. From one 
oor S 0 = side projects the keyboard with wooden keys, shaped bracket- 
ings at either end and a molded base. There is no stand. This 
instrument is signed and dated: “Opus . D. D. R. Iannis 


Francisci Brixiani . MDX XX.” 

Length, 56 inches; width, 19 inches. 
Note: The earliest spinet in existence, now in Paris, was made at 
Verona in the year 1523, only seven years before this example was made 

at Brescia. C 

Ute > 
567—FirreEENTH CENTURY ITraLIAN HeErALp’s ‘TRUMPET 
Lone, straight cylindrical trumpet of brass with flaring mouth. 
amir oO 
SEC : Peer iit ; 

LON gaa Engraved on the lip is the inscription: “Sani. Petus . Mon- 
silicinus . MCDLI” . with a small coat-of-arms above the date. 


Length, 491, inches. 


Note: This and the following are the only examples of heralds’ 
trumpets of this period that are known to be in existence. 


568—SrxTeENtH CentTuRY IraLiaAN TRUMPET (hr0- ojo ae. | SL 
Cylindrical trumpet of brass, with swelling mouth. 


~ Or 


i 4 js 
Length, 31% inches. 


ASTRONOMICAL Conor 
gu 
569—SEVENTEENTH Century Iratian Brass SuRVEYOR’S Quine oa 


Semicircular movable disk, engraved with degrees and with a 

oe turned cylindrical brass socket. In contemporary leather case, 
with carrying strap. 

; Height, 4°4 inches. 

ie / 

570—SIXTEENTH CENTURY GERMAN noe Aiud hans ae 

Circular form, with ring for suspension. Outer rim of brass 

sgh A engraved with degrees; sunken front of brass engraved with 

meridian and other lines and concentric circles; from the raised 

brass limbs project the finding points of hook shape. En- 

graved with the inscription: “Georgius Hartman, Norenberge 
Faciebat anno 1537.” 

wa ee inches. 


LV. pt dA, 


APOABA AW 
571—SIXTEENTH CENTURY Brass ASTROLABE 


Ae tee Circular form, with ring for suspension. Engraved outer rim 
vl and plate with inner branching limbs terminating in hooked 
points for finding purposes. 

Diameter, 734 inches. 


572—SIXTEENTH CENTURY ITALIAN ae . Date 
Terrestrial globe. Engraved Map of the World mounted on a 
sphere of papier-maché and dated “1577.” On a turned standard 
J FS iiss of gilded wood, with a brass ring engraved with degrees. 


Height, 161 inches. 
gars 4, Sb 
573—SEVENTEENTH CENTURY ITALIAN GLOBE y 4 
Celestial globe. Engraved Map of the Heavens, mounted on a 
papier-maché sphere. On a shaped bronze tripod stand, with 
e J “— molded and carved marble base. 
5 Height, 22 inches. 


Y eye. (Lge 


574— HK IGHTEENTH CENTURY ITALIAN TELESCOPE 
2 ,.. Adjustable vellum-covered tubes; case covered with tooled and 
~~( d ~ gilt leather, and turned wooden ends. 
Length, 271% inches. 


/ eae 
ee ana Ne NOL. 
575—Pair oF SIXTEENTH CENTURY ITALIAN GLOBES 


Terrestrial and Celestial globes, the one a Map of the World, 

Pu yg & the other a Map of the Heavens, engraved on paper, mounted 
Pes on spheres of papier-maché. Surrounded by a perpendicular 
ring of brass engraved with degrees and dated “1600.” ‘The 

Celestial Globe has the Signs of the Zodiac and symbolic figures 

of the Constellations, the Terrestrial Globe figures of ships, all 
realistically drawn and colored.. On gilded bronze stands of 

tripod form consisting of three shaped voluted flat supports 

richly chased and supported on molded bases, with compasses 

inserted, with scrolled and voluted feet. 

: Height, 291% inches. 


Davanzati Patace: Corner or Living Room—Serconp Fioor 


ORIENTAL RUGS AND CARPETS 
(Chiefly of the XV Ith and XV IIth Centuries) 


The artistic interchange in Renaissance times between Italy and 
the Orient can be discerned in many ways, not the least significant of 
which is the constant recurrence in Italian paintings of the period of 
the rugs of Persia and Asia Minor. Through Italy, of course, came 
to the more northerly countries those tapetti which Holbein so de- 
lighted to portray that we are wont to classify their existing originals 
as “Holbein rugs,” and direct to Italy some three or four hundred 
years ago came these rugs which formed part of the furnishings of 
the Davanzati Palace. 

This it is that gives them so peculiar a desirability in the eyes 
of modern collectors, for they embody not only the singular genius 
for color and pattern of their Eastern weavers, but also the deco- 
rative taste and feeling of the Patrician families of Cinquecento Italy 
for the adornment of whose palaces and villas they were unloaded on 


the quays of Genoa and Venice. 
ELST: 


576—Two SIXTEENTH CENTURY ITALIAN 


, pa 6 
i oe 


VELVET AND LINEN CUSHIONS AND TEXTILES 


Oo weareee 


Rectangular shape. Covered in red satin embroidered in gold 
thread at the corners, with designs of cornucopie filled with 
conventional flowers and with deep borders of acanthus-leaf 


scrollings. 
Height, 1 foot 334 inches; width, 1 foot 10% inches. 


577—Two SIxTEENTH CENTURY ITALIAN ie a 


ond (l- 
7-U 


Rectangular shape. Covered with fine white linen embroidered 
in gold thread, with an all-over pattern of detached S-shaped 
scrollings and phoeenixes. Bordered on four sides with a pattern 
of floral scrollings. 

Height, 1 foot 1 inch; width, 1 foot 4 inches. 


578—SIXTEENTH CENTURY ITALIAN CUSHION é SAnneteee 


+7 6 


! did 


ie 8 eT ae 


fo 


Rectangular shape. Covered with blue satin embroidered in 
gold thread with a diapered patterning of single and double 
fleurs-de-lis. No border. 


Height, 1014 inches; width, 1 foot 914 wmches. 


Ce-/ Oh: 
579—SIXTEENTH CENTURY ITALIAN Gueren 
Rectangular shape. Outer cover of fine white linen patterned 
in square medallions with rosetted centers of cut and drawn 
work and with borders of similar patterning. Inner covers of 
yellow silk. 


erly 


Height, 1 foot 1% inches; length, 1 foot 61 inches. 


580—Two SixTeentH CrNnTuRY Iranian EMBROWERED SATIN 
CUSHIONS 
3.4 ¢ “= Rectangular shape. Covered in red satin, embroidered in yel- 
low silk and gold thread with a scrolled design of rose leaves and 
flowers. In the center within a twisted wreath is a large shield, 
surmounted by a helmet and label, containing the arms of the 
Medici family quartered with those of Aragon. The whole 
surrounded by a scrolled border. | 


Height, 1 foot 1 inch; length, 1 foot 5 inches. 


Note: In 1589 Cosimo de’ Medici married Eleanora of Toledo, daugh- 
ter of Ferdinand of Aragon, Viceroy of Naples. It is for him, there- 
fore, that these cushions were originally made. 


/ vA\ 


581—Two SrxtTrentuH Century FLORENTINE PiILLows 


DoJ ‘= Rectangular shape. Covered in red velvet, embroidered in gold 
thread with deep borders of a scrolled design. At the corners 
are tassels covered with red silk worked in gold thread. 


Height, 1 foot 7% inches; width, 2 feet 2% inches. 


f 


“~ 


Tar eh yf 
582—THREE SIXTEENTH CENTURY Trio Woe A 


Rectangular shape. Covered in cut wine-colored velvet of a 


sh: g° + diapered pattern. Gold borders. 


Height, 91% inches; width, 1 foot 5 inches. 


GR (Sees 
narrchintara 
583—SIXTEENTH CENTURY ITALIAN Conn cae = 


Girl’s dress of green woolen cloth, with a border of yellow and 
ae white cloth embroidered in silver; the sleeves are of white silk 
embroidered in silver and puffed with yellow silk; the collar is of 
yellow silk ornamented to match the-skirt and finished with white 
silk cord and tassels. 


Nick hylan. Wartw 
LAr 
584—SIxTEENTH CENTURY ITALIAN SILK tea JACKET 


Of blue silk, with long loose sleeves and buttoning close up the 
¢--—_ front. Woven in silver thread with design of stripes and dia- 
pered pattern of pear-shaped figures. 
o~ 7) 


VE 


585—SEVENTEENTH CENTURY ITALIAN TALE ote 


Rectangular shape. Of blue satin, with a design of flowers and 
leaves; embroidered with a design in gold thread at the corners 

ih J “— and gold fringe. In the center is the coat-of-arms of the Co- 
lonna family on a red ground framed in yellow silk. 


Height, 1 foot 5 inches; length, 3 feet 2 inches. 


/) 4 
: ihnl tannin 
586—SIXTEENTH CENTURY ITALIAN COVERLET At 


Rectangular shape. Of yellow silk, embroidered in red silk with 
ste leaf and scrolled designs. | 


Length, 7 feet 101% inches; width, 8 feet 7 inches. 


587—SixtTemntH Century Iranian Coverretcar igri. Cpe 
Rectangular shape. Of green velvet, with border woven in gold 


3 ,, thread. 
V ¢ Y ek Length, 7 feet 10% inches; width, 5 feet. 


588—Earty SrxTeeNtH Century Coverer 

Rectangular shape. Of fine white linen, formed of three layers 
4-92.65 °*< of material and elaborately quilted. The coverlet is divided 

into sixteen rectangular compartments by vertical stripes of a 

twisted-rope design and horizontal stripes of a rosetted design. 

The squares contain scenes abounding in figures in sixteenth 

century costume and in views of a palace with cupolas. These 

scenes represent incidents in a contemporary “novella” or story. 


Length, 6 feet 714 inches; width, 5 feet 8 inches. 


589—SIxTEENTH CENTURY IraL1an LARGE res i ita 
Rectangular shape. Of red satin, quilted, as to the center, ina 

‘ diapered design of almond-shaped figures occupied with scrolled 

figures and with a deep border of scrollings and winged animals 

between two narrower bands of undulating and leaf pattern. 


Length, 7 feet 101% inches; width, 6 feet 10% inches. 
z f? 
VY ae Be i 
/{- EM ot 
590—SIxTEENTH CENTURY ITALIAN COVERLET Es As A Ita 
_ Rectangular shape. Of violet-colored velvet, with a fringe of 


0 the same color and a border woven with gold thread. 


Length, 10 feet 2 inches; width, 6 feet 11 inches. 


Sore, 
gitek OA 
591—SuventerntH Century Irarian Laror( CoverLet 
Rectangular shape. Of white silk, worked in Hungarian stitch 


with a pattern of a lozenge-shaped diaper filled with flowers of 


j LAr ne 


7 © VU — alternating colors. The border is of yellow, patterned with rich 


embroidering of silk and fringed. 


Length, 11 feet 2 inches; width, 8 feet 10 inches. 


SIXTEENTH AND SEVENTEENTH CENTURY RUGS 


mane oie waenel SRR ACR EY ay AHO REM ine ot “Uséeane. 


592—Sma.Lu Asta Minor Rua Sore he (3 cli gph 


Of a type found not earlier than 1600 and not later than 1700. 
It is both a prayer rug and a hearth rug. The center, with a 
rich red ground, has a shaped arch above and below, with span- 
drels occupied by scrolled designs of yellow touched with blue, 
and in the center a quatrefoiled medallion in dark blue. The 
main border, on a dark blue ground, is patterned with large con- 
ventional palmette figures in red, with touches of green, blue and 
yellow. The inner and outer guards have conventional straight- 
stemmed floral spray patterning of blue, yellow and brown on a 
red ground. 


Length, 5 feet 1 inch; width, 8 feet 5 inches. 


foN 


| Ly ‘ fp S Ss he ee 


| 
| 


59383—SIxTEENTH CENTURY WeEsSTERN AsiA Minor Ruc 


A collector’s piece and a companion piece to' Nos. 601 and 602. 
The field, on a red ground, has an all-over patterning of radiat- 
ing scrollings and geometrically conventionalized leaf forms in 
yellow relieved by touches of white and blue. The main border, 
on a blue ground, has a patterning of S-shaped scrollings in 
red, with trefoil flowers of yellow and rosettes of olive green 
at regular intervals. The inner and outer guards, on yellow 
grounds, have patternings of red scrolls, and blue and white 
rosettes. 

Length, 5 feet 81% inches; width, 4 feet 81% inches. 


( NM ; 
594— ANTIQUE Lapik Prayer Rue ©’ Zz Povey = 
Asia Minor, 1750. A type of prayer rug only occasionally found. 
“— The mihrab, with rich red ground, has a stepped pointed arch 
outlined in yellow and white with sky spandrels of green occu- 
pied by three branched floral sprays in red and yellow. ‘The 
panel above, on a red ground, has a pointed lambrequin lower 
border from which spring three lily forms alternating with 
straight stalks of pointed leaves in light and dark blue and white. 
The borders, which have been restored, have a yellow ground, 
patterned with an undulating design of hooked character en- 
closing square starred rosettes and scrolled figures in purple, 
green, red, blue and white. Narrow fringe at top and bottom. 


Length, 5-feet 7 inches; width, 3 feet 9 inches. 


(Illustrated) 


595— ANTIQUE GHIORDES PRAYER Rud/ 7 Der Tr: nV We 
Asia Minor, 1700. The first impression made by this old 
_,, Ghiordes is not favorable to its classification among the very 
77 — dest of its kind; the last impression, derived after an hour’s con- 
sideration, is that its equal would be hard to find. It is a superb 
decoration—a quality lacking in many of the minutely decorated 
specimens. ‘The mihrab, with a red ground, has a stepped and 
pointed arch supported on two conventional pilasters having 
shafts decorated with white lozenges on a green ground and 
floriated capitals and bases; sky spandrels, of dark blue, are 
filled with curved branches of flowers and leaves in white and 
red. The panel above is filled with conventionalized flower and 
leaf forms. 'The main border is patterned, on an olive green 
ground, with floral medallions, large palmette-shaped flowers 
and conventional pointed-leaf forms in white, blue and red. 


Length, 5 feet 4 inches; width, 4 feet 114 inches. 
(Illustrated) 


ide iain seca aoe 


4, 


ere vee 


Ble 
ay 
a 


Ach 


25 BE EP 22 OF TP 


“Seal Sool OF 
LY DS 68 BIDS EP PELE BIEL 
aw eo 


HS OF HI OF _ BETS BE EE 


Ab ls 
‘i 
éf 


BS SF FT TF 
GNF ot 


EF OF RE 


BE FS ZS LI DE TH IE OF DEALER ET BI LL 


Ae 


TAR 
aN 


RS hig ak 
n 


Me ai GER 


Re capone mde <> 


RAS OS. 


595 


594 


No. 594. AntieuE Laprtk Prayer Rue 


No. 


Prayer Rue 


595. ANTIQUE GHIORDES 


5 


| fhe ‘i art Gert a 


596—SEVENTEENTH Crentrury Lapik Prayer Rue | 
Mosque design. Asia Minor, 1600. Positively the last word 
in prayer rugs and the finest specimen of small carpet made in 
Turkey. Similar rugs are among the choicest possessions of 
the museums of Europe. Rugs of this character should be the 
property not of individuals but of nations. 

The mihrab, with a red field, consists of three angular-pointed 
arches supported, in the center, by slender twin columns with 
ornamental capitals and bases, and at the sides by single col- 
umns to match. The sky spandrels are filled, on a light blue 
ground, with highly conventional leaf forms and geometrical 
scrollings in red, white and black. Above is a panel with a red 
ground occupied by trefoiled lambrequin borders and upright 
conventionalized stems in white, black and blue. The border is 
of a harmonious design. 


Length, 5 feet 414 inches; width, 3 feet 1114 mches. 


/ a-d 0 


SpApx ec 
(0 fa GY 


A fo) 
KA > A A { y, 0, 
a al KS 4) —L— | ‘a os 


597—SEVENTEENTH CENTURY LaApIK PRAYER RvuG 


0< 


— 


598— 


6¢ 


nr 
eo fF — 


599—Smatut Asia Minor Rue SIAN Leo Lis [ta 


Mosque design. Asia Minor, 1600. Companion rug to No. 596 
and almost equally desirable. The very high importance of these 
two rugs can hardly be over-emphasized. 
The mihrab, with a red field, consists of three angular-pointed 
arches supported, in the center, by slender twin columns with 
ornamental capitals and bases, and at the sides by single columns 
to match. The sky spandrels are filled, on a light blue ground, 
with highly conventional leaf forms and geometrical scrollings 
in red, white and black. Above is a panel with a red ground 
occupied by trefoiled lambrequin borders and upright conven- 
tionalized floral stems in blue, white and black. The border, 
on ared ground, is patterned with quatrefoil medallions of alter- 
nating blue and dark green occupied by conventional floral 
sprays of red and white. The inner guard is patterned in con- 
ventionalized leaf sprays on a brown ground, and the outer 
guard is of small quatrefoil rosettes in red, white and blue on 
a brown ground. Green selvage and narrow fringe at top and 
bottom. 
Length, 5 feet 414 inches; width, 3 feet 111% inches. 
/ fl ZG : 


f W¥ = _“~ En 
SIXTEENTH CENTURY PERSIAN PRAYER-RUG 


Oblong shape. Arched mihrab, with red field, having in its 
center an elongated rectangular medallion, with blue ground 
decorated in red. Varicolored border of a geometrical pattern- 
ing. 

Length, 6 feet 634 inches; width, 4 feet 8 inches. 


Fe 


| : as 


Of a type found not earlier than 1600 and not later than 1700. 
Small blue medallion on a plain red field, with strongly designed 
corners and “richly ornamented borders principally in red on 
a dark background.” 

This ancient rug is both a prayer rug and a hearth rug. The 
small four-inch medallion, containing an eight-pointed star, set 
directly in the center of the upper mihrab, shows the rug to be 
a prayer piece; the double niche indicates its use as a hearth 
ornament. 

Of interest are the spots of white cotton throughout the bor- 


der. 
Length, 6 feet 51% inches; width, 3 feet 7 inches. 


Mi 
600—InrprrtaL “PonisH” Woot Rue | “4 
In the design and color known as Polish. Made probably at 
55d — the Imperial Manufactory about 1600. 
The design consists of large flowers, broad leaves and heavy 
twigs, which, examined closely, have a crowded appearance and 
seen at a distance appear to be open and well composed. A 
perfect example of a master’s disposition of color. 
To a rug collector this single known example of “Polish” wool 
rug should be as desirable as the rarest stamp to a philetalist. 


Length, 5 feet 11 inches; width, 4 feet 11% inches. 


(Illustrated) 


601—WestTERN Asta Minor Rua YY 3 (3 DANN 


Sixteenth century, of the type depicted in the paintings of 
sag! Lorenzo Lotto, Girolamo dai Libri, Bronzino, and Luca 
nae Longhi. A rug of rare distinction, due to the domination of a 
broad border of Chinese cloud bands. The wonderful ornament 
of the center ground is merely a masterly arrangement of con- 
ventionalized leaves and vines. 
The field has a design, on a red ground, of interlacements and 
highly conventionalized flower and leaf forms in yellow relieved 
by passages of blue and white. The main border has a pattern- 
ing, on a dark blue ground, of trefoiled palmettes, quatrefoils, 
cloud forms and rayed flower forms mainly in red, but with 
touches of blue, yellow and white. The inner guard has an un- 
dulated pattern in red on a yellow ground and the outer guard 
a pattern of conventional S-shaped floral sprays in red on a 
yellow ground. 
Length, 5 feet 4 inches; width, 3 feet 10 inches. 


602—WestreRN Asia Minor Rue ee. I Onde , (a ee 
Ieee Sixteenth century, of the same type as rug No. 601 and_fre- 
'¢ U — quently depicted in paintings by the old masters. ‘Open rather 
than close, crowded leaf-forms make up the field design. Cufic 
inscription inspired the border. A superb old-rose and gold rug. 


ix PPMP ERED 


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Dee ee ee ee ee ed 


"Rua. 


RASSHADERRRRURV ERE HERPES, EPEC ILE OEE LER ERA Cy 


KOREAN RR SEATUES ERO WS Vw ETERS RE 


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o. 600. ImpERIAL “PouisH’? Woor Rue 


N 


[yo 4 {/ 
"a TY Sd Pos e AOD ; 
6083—ANTIQUE Rosk AND GREEN AstA Minor Rue 
Seventeenth century. Oriental rugs are wanted among the 
oe fine arts because of such rugs as this one. If soft rose and green 
have ever been better combined, it has been in other materials. 
If flower and leaf have been more elegantly disposed, the better 
examples have been neither numerous nor conspicuous. It is 
doubtful if there is anywhere a more delightful floor fabric. 
The field, on a deep rose-colored ground, has an all-over pat- 
terning of interlaced designs, with palmette-shaped flowers, 
curved pointed leaves with serrated edges, large rosettes and 
sprays of smaller flowers in differing shades of light blue, green 
and yellow. In the center is a large circular medallion with 
scalloped edge, with a green ground, and a star-shaped center, 
from which spring floral sprays and eight palmette-shaped 
flowers, in red, blue and white. The main border, on a green 
ground, is patterned with palmette-shaped flowers and curved 
branches of leaves separated by conventional cypress-tree forms; 
all in red, blue and two shades of yellow. The inner and outer 
guards are patterned, on blue grounds, with red rosettes. 
Fringed at top and bottom. 


YY 


Length, 11 feet 2 inches; width, 7 feet 4 inches. 
(Illustrated) 


| s a 
604—OusHALS PaLaceE Rue . Se ia KK is LANWA AAA GY 
Asia Minor, 1700. If proof were needed of the decadence of 
modern Turkish carpets, the noble ancient type represented by 
this fabric would furnish the necessary evidence. For corner 
design, not inartistic triangles but glorious quarter medallions; 

for the center a figure of infinite draftsmanship and virile 
imagination; for the border a broad band of flowers. For vigor 

of color and design, few if any Oriental rugs surpass this type, 
and not many such pieces have been imported. 


Qs 


PE See Ie oe Se 
Parheas 2G eof 
saeaet 


CTT Bete 
ie eteoieee & 


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Canree 

ny ie 
oo rr 


No. 603. AntiavE OusHats Patace Rue 


‘ aie . 
[ff { 6 y) y { 
Coo Wel 0,V,V,.5 Ae Coe 


* 605—TuHeE “Doria” SIXTEENTH CENTURY ISPAHAN (CaRPET 


Rectangular shape. The field, with a blue ground, is deco- 
rated with an all-over patterning of palmettes and peony blos- 
soms, enclosed in curved pointed leaves with serrated edges and 
connected by interlacements of slender stems with leaves and 
flowers of varied colors, the interstices occupied by oval floral 
medallions with scalloped edges. The main border is a design 
of tulip-shaped flowers, with leaves and scrolled stems. Sepa- 
rated by eight-petalled floral medallions. The narrow inner 
guard is of a barber’s pole pattern and the outer guard is 
of floral undulating design. 


Length, 19 feet 6 inches; width, 8 feet 11 inches. 
(Illustrated) 


Note: The “Doria Carpet,” one of the most celebrated in Italy, hung 
for generations in the Doria Palace until it passed directly into the 
possession of the present owner. It was presented about 1540 to the 
celebrated Genoese Admiral Andrea Doria, known as the “Father and 
Liberator of his Country,” by the Persian Ambassador as a token of 
the esteem of his sovereign the Shah. In 1915, when King Victor 
Emanuel visited the Davanzati Palace, he was particularly interested in 
this remarkable carpet and declared that it was the finest specimen of 
the art of the loom he had ever seen. 


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* No. 605. THe “Doria” SrxTEENTH CENTURY IsPAHAN CARPET 


TAPESTRIEY )) <5 e ee 

606—FirreentH CENTURY FLEMISH VERDURE TAPESTRY PANEL 
Rectangular shape. The field is entirely covered with a design 
: ye of large scrolled pointed leaves with serrated edges of con- 
ae ventional Gothic character interspersed with long stems of 
cinque-foiled flowers and leaves. Below, on a rocky ground, and 
partially concealed by the verdure, are seen the figures of a 
charging bull facing in an attitude of defiance a couchant lion. 
Above, perched upon the leaves are various birds, including two 
peacocks, and a rat. In the center is an upstanding stem of 
rose leaves and conventionalized rose blossoms. Surrounded 
by a border of a twisted ribbon design with three-foiled loops 

and rosetted corners. 


Height, 7 feet 91% inches; width, 8 feet 10 inches. 
(Illustrated) 


TANVG AULSadV T, Ce: OOK R ICE 


\ HSING TY AUNINA) HINGALATY ‘909 “ON 


va 


\+ i cas RANMA AAR 


* 607—Late FirreentH Century FLEMIsSH MARRIAGE TAPESTRY 


Rectangular shape. Divided horizontally into two compart- 
ments of inter-related subjects relating to a fifteenth century 


~ marriage. In the upper one is shown the arrival of the bride- 


to-be at her future home. In the center, the young woman is 
kneeling at the feet and grasping the welcoming hands of her be- 
trothed’s mother, while on the left are seen the father, and the 
youth himself, leaning against a pillar and gazing lovingly at 
his future wife. On the right, behind the bride, stand her mother 
and father and three of her youthful kinsmen, one of whom, 
starting forward with an angry gesture, is restrained by a com- 
panion. In the background are seen fruit trees and the towers 
and high gibbet of a town. Below, in a field of varicolored 
flowers, the bride and bridegroom, now presumably happily mar- 
ried, are seated in the center of the composition, the bridegroom 
handmng her a basket of fruits which he holds in both hands. 
On the left-hand side is a group of four maidens, one of whom 
on her knees offers a dish of fruit to the bride, while on the other 
side are three youthful couples in rich apparel. 

The extreme left of the composition is occupied by two panels, 
in late Gothic pinnacled buttresses of allegorical subjects. 
Above, a young couple are seen seated in close proximity, while 
below is the figure of a young woman with ermine mantle, seated 
on a Gothic canopied chair holding a bunch of grapes in her 
right hand, while her left rests on a shaped shield with the 
Altieri coat-of-arms, which she supports on her knee. In the 
background are two savages fighting. The border is of detached 
branches of flowers and leaves at the sides and of a running 
pattern of vine leaves and grapes and floral sprays above and 


below. (Pending re-weaving, a hole has been filled with painted 
cloth. ) 


Height, 8 feet 10 inches; width, 11 feet 10 inches. 
(Illustrated) 


Note: This early Flemish tapestry, so noteworthy from its admirable 
coloring and the excellent drawing of the faces, which, while losing none 
of their decorative quality, are yet full of expression, was woven to 
commemorate the marriage of one of the Altieri family. For genera- 
tions it hung in the Palace of the Princes Altieri, near Lucca, and so 
is known in Italy as the “Altieri Tapestry.” It formed one of the 
chief glories of the Davanzati Palace. 


OD oe: 


AULSA VITUV NING) HL 4E “ON 
i “L09 oh 
aL 
aC EC INTC A fl 
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608—SIXTEENTH CENTURY FLORENTINE TapEstry Pane. (Known 
as the Medici Tapestry) 

Rectangular shape, the subject representing a fishing scene. In 
— the middle foreground are seen two fishermen, one of whom 
kneels to take out of the net, upheld by the other, a group of 
fish. Beyond them is seen a group of sailors and a three-masted 
high-poled vessel, and in the background the entrance to the 
harbor of Leghorn, with its fortress and another ship in the 
distance. In the immediate foreground is the seated figure of a 
bearded old man with a garland of water leaves typifying the 
river Arno. This subject is flanked by two tapering pilasters, 
seen in profile, with capitals of women’s heads and voluted con- 
soles from which depend festoons of fruits and leaves. There 
is an outer pane with a design of octagonal panels of lobsters 
supported by ribbons and four Putti carrying fishing nets and 
fish at the sides, panels of a fish and Nereids at the bottom, 
and medallions of fish, a crab and a tortoise at the angles. Above 
is a broken cornice, and in the center an oval scrolled medallion 
supported by winged Amorini and occupied by the arms of the 

Medici family. 
Height, 12 feet 31% inches; width, '7 feet 814 inches. 

(Illustrated) 

Note: This famous tapestry was woven in Florence to the order of 
Francesco Medici (1541-1587) to commemorate the improvements he 


effected at Leghorn, which improvements had been projected by his 
predecessor, Cosimo I. 


No. 608. SixTEENTH CENTURY FLORENTINE Tapestry PANEL 
(Known as the Medici Tapestry) 


y 
609—Latre SIXTEENTH CENTURY FLEMiIsH Tapestry PANEL 
“The Triumph of Prudence,” which is of an allegorical nature. 
In the center, seated upon a throne which stands upon a dais 
a 7 40 ‘<— covered with an Oriental rug, is the figure of Prudence repre- 
sented as a young woman wearing a diadem. She is seated under 
an ornate tabernacle supported by square columns, above which 
is the seated figure of King Solomon. Against the background of 
clouds the tabernacle is surrounded above by the physical senses 
of Hearing, Seeing, ‘Tasting and so forth, represented by winged 
horses, and by the intellectual faculties represented by figures 
of kings with crowns and scepters. Below, on the right, are 
women personifying Prudence (several times repeated), Rea- 
son, with a whip, and Concord or Peace. The foreground 
is occupied with the kneeling figure of a woman in the center, 
having, on the right, the figure of a queen and of two horses 
bestudded by winged Amorini bearing banners inscribed with 
the names of Sight and Hearing, and on the left the figure of 
Jacob beside a pile of chariot wheels. The background is a 
landscape with buildings, and nearer at hand are trees and 
a rocky ground with bushes and flowers. The border has a 
design of festoons of fruits and leaves with flying ribbons above 
and below, and of fruits and leaves bound with ribbons at the 
sides. 
Height, 18 feet 11 inches; width, 11 feet 10 inches. 
(Illustrated) 


(2. 1 - veh 


609A—F IF TEENTH CENTURY IvaLtaAn STAMPED LEATHER PANEL 


Pe, ° Formed of small oblong skins of leather stitched together. The 

L$ ~~ center, on a gilded ground of checkered pattern, is occupied 

by a shield emblazoned on a field argent, three bars azure, with a 

pale argent of three bends gules. Augmented with a chief or, 

having an eagle displayed sable. As crest a ducal coronet, a 

helmet and an eagle displayed. For supporters there are two 

female caryatides, and below, a mask with a festoon of drapery. 

Elaborate scrolls, acanthus leaves and fruits, all in gold, silver, 

brown and black. Broad border of scrolled leaves and flowers 

in black on a gold ground edged by a narrower stripe of floriated 
undulating pattern, also in black on a gold ground. 


Height, 10 feet 10 inches; width, 8 feet. 


“NoncosslMiaiMinnesscneieaigeon 


Be 


N 


. 609. Late SrxTEENtTH CENTURY FLEmMisH Taprstry PANEL 


ITALIAN MAJOLICA 
OF CAFAGGIOLO, FAENZA AND DERUTA 


including a singular collection of the 


PRIMITIVE MAJOLICA OF ORVIETO 


Undoubtedly the lustred Majolica, of which the finest examples were 
produced by Maestro Giorgio of Gubbio, has of late years largely monopolized 
the favor of the average collector. But the excavations recently made at 
Orvieto and elsewhere have resulted in the discovery of a comparatively few 
pieces of the very earliest majolica for which the most distinguished con- 
noisseurs have lately contended with friendly energy. Among the few gather- 
ings of real importance the Davanzati Palace Collection has long held a 
chief place. 

In his monumental book on Tuscan Majolica [“Die Anfange der Majoli- 
kakunst in Toskana,” Berlin, 1911] Dr. Wilhelm von Bode, for instance, pays 
much attention to the primitive majolica discovered during recent excavations 
at Orvieto and makes frequent reference to what he terms “the carefully 
selected collection of Professor Elia Volpi, displayed by him in that model 
of restoration, the Davanzati Palace.” He also asserts that “the greatest 
antiquarians have valued even fragments of majolica in restoring their palaces 

. . among the foremost of these being Professor Volpi.” 

“Because,” he continues, “these finds have been so numerous in Orvieto, 
I have arrived at the conclusion that Orvieto was the pottery center for all 
these primitive majolicas. of central Italy. 

“These early majolicas are closely related. They are made in only a few 
colors, chiefly copper green and brownish red (manganese), though more 
rarely one finds a pale blue and very occasionally a bright yellow. 

“The decorations have a uniformity of medieval Italian character with 
a trace of that Orientalism so noticeable in all. contemporary European art, 
and more especially in the textiles. It consists of plain lines, basketwork, im- 
brications, initials, coats-of-arms, animals, sometimes mythological char- 
acters, and human figures. There are some ornaments, too, such as heads, 
flowers, fruits and coats-of-arms, in relief. 

“The body of the ware is mostly a strong red resembling that of fine 
tiles, while the glazing mostly displays a metallic lustre. 

“The vessels are of few shapes—bowls, with or without handles, tureens 
and pitchers, tall slender ones with short necks and large pear-shaped ones 
with high necks.” 

Dr. Bode further declares that “a majority of the ware has a strong 
provincial character, as shown in the severe lines, the form of the vessels, the 
dull coloring and the hasty execution,” and concludes by stating: “I illustrate 
particularly some pieces of the Volpi Collection in order to show, from them, 
what the potters of ancient Tuscany have bequeathed to us as a legacy of the 
Middle Ages.” 

Ly Wed 2. 


FIFTH AFTERNOON'S SALE 
SATURDAY, NOVEMBER 25, 1916 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 610 to 805, inclusive 


DAVANZATI PALACE MAJOLICA 
PU LeAe be Oere 


610—FourtrentH Century Orvirro Primitive Masorica Bow. 
witH HANDLES 
ys Coupe-shaped, with two projecting handles. Decorated, on a 
white ground, with geometrical patternings. 
Diameter, 3°24 inches. 


Vhs V- pose Cre 


611-—FourRTEENTH CENTURY OrvIETO Masoxica INKSTAND 


V 


550 Circular form and glazed in white. 
Rae AE Diameter, 384 inches. 


% 


612—FourteentH Crntrury Orviero Primitive Masoiica Bow. 
with HanpLEs Vebhptas VUartir 
Coupe-shaped, with two projecting handles. Decorated, on a 
S 5 = white ground, with geometrical patternings. 
Diameter, 3°4 inches. 


high MA Ont 
Vwebrkan Var 
613—FourtTEENtH CentTUuRY Orvieto ProwitiveE MasonticaA Bown 
witH HANDLES 


» »%_ — Coupe-shaped, with two projecting handles. Decorated, on a 
white ground, as to the interior with a primitive drawing of an 
Agnus Dei. 


Diameter, 43% inches. 


1 
u 


614—FourteeNtH Century Orvieto PrruitiveE Masoiica Bown 
Coupe-shaped, with two handles. Decorated, on a white ground, 


— as to the interior with an Agnus Dei. 
Diameter, 424 wmches. 


Wr UA Jorn 
615—FourTEENTH CENTURY SrIeENESE Primitive Masorica JuG 
Pear-shaped body, without handles. Decorated, on a white 
— ground, in blue, with scrolled ornamentations and with three 
men’s heads in relief. 
Height, 334 inches; diameter, 4% inches. 


Mk rbac Marto 
616—F ourTEENTH CrenTURY Orvirro PrimitivE Masorica Bown 
Coupe-shaped, with flat rim. Decorated, on a white ground, as 
to the rim with groups of radiating lines, as to the interior with 
27 ‘— a woman’s head in a quatrefoiled bordered cup, on a hatched 
ground. 
Diameter, 51% inches. 


Ocala. tf Linen 
617—SIXTEENTH CENTURY F'aENZA Masonica Bown 
Coupe-shaped, with flat rim and annular edge. Decorated, on 
a light blue ground, in white and blue, as to the rim with a 
scrolled border and as to the interior with a figure of St. Cath- 
erine and her wheel modeled in low relief. 


3 


Height, 2 inches; diameter, 51 winches. 


Vn. th. Sha nrhted 
618—FourTEENTH CENTURY Orvieto Primitive Masotica Bown 


Circular coupe-shaped, with flat rim. Decorated at thé rim 


a Se : eee é ‘ : : : 
= with radiating lines, symmetrically disposed, and the interior 
with the head of a youth on a patched background. (Imperfect.) 


Height, 25 inches; diameter, 5 inches. 


< rij Pes 
Trt lar Martu 
619—FourTEENTH CENTURY OrvIETO Primitive Masouica Cur 


Curved sides, with looped handle. 
/ = Height, 2°24 inches; diameter, 4 inches. 
co™ 
[ ~~ hs eae f 
OCG Verne Kye 
620—F irTEENTH Century Guspio Primitive Masorica Bow. 
Coupe-shaped, and decorated as to the interior with three crowns 
> s and acircular medallion occupied by a Gothic letter. 
é 
Height, 21 inches; diameter, 5% inches. 


= fe A 7 ~— , 
Clete At, Aart 
621—F ourTEENTH CENTURY OrvIETO Primitive Magouica VASE 


Bottle-shaped, with spherical body, high cylindrical neck and 


looped handle. Decorated, on a white ground, with a cross 


y Aloe 
[o painted in reddish brown. 
Height, 71 inches. 


(( 


622—FourTEENTH CENTURY OrvVIETO PrimitrivE Magonica 


PITCHER 
One Pear-shaped body, cylindrical neck and annular foot, with 
pointed spout and looped handle. Decorated, on a white ground, 


in green, with a floriated Gothic letter “G.” 
Height, 68% inches. 


(Illustrated) 


622 


623—SIxTEENTH CENTURY Ursino Masonica SALT CELLAR 
\ 


Rectangular shape, with outcurved sides, a sunken surface, mod- 
=) a ae eled shells at the angles supported by winged sphinxes and four 

lions’ paw feet. The top is painted with a nude Venus and the 

side with reclining Amorini. Above is an egg and dart border. 


Height, 35% inches; diameter, 43 inches. 


We V. btanhehe 
624—F iwrerentH CENTURY FLORENTINE Masonica PITCHER 
Pear-shaped body, with pointed spout and reeded looped handle. 
/ Decorated, on a white ground, in blue, with a circular medallion 


occupied by the Sacred Monogram and a floriated cross. 
Height, 414 inches. 


WE (A pw “gor 


625—SIXTEENTH CENTURY Mepic1 PorcenaAIn Bown 


Coupe-shaped, with straight sides. Decorated, in an des 
glaze cobalt blue, with a design of scrolled flowers and leaves 

eB) oe suggesting a Persian influance. Marked, on the base, in blue 
with the Duomo of Florence and the letter IF’. 


Note: This is an example of what is probably the rarest of European 
porcelains, for Francesco de’ Medici has the honor of having produced 
the first porcelain made in Europe. It was in 1475 that the Venetian 
envoy to Florence wrote of him that “he passes his whole day in the 
Casino surrounded by alembics and filters,” making the ware of which 
only about thirty pieces have survived to our day, most of them being 
in the great National museums. About half are marked, as is the piece 
here catalogued, with the Dome of the Cathedral of Florence, and the 
decoration of nearly all is based on the Persian. 


628 


626—FirreentH Century Caraccio.o MasonicA ALBARELLO 
Cylindrical shape, with incurved sides and carved foot. Deco- 
25 ‘& rated, on a pinkish white ground, in blue, with four bands of 
an interlaced pattern separated by double lines. 
Height, 71% inches. 


627—TouRTEENTH CreNntuRY Orvirtro PrimitivE Masorica Bown 
witH HANDLES oa ah eg OV eh LAA 
o ae Circular shape, with gadrooned side, scalloped edge and flat 
looped handles. Decorated, as to the interior, on a white ground, 
in green and manganese, with a fantastic winged animal having 
a man’s head with acanthus-leaf sprays. 


Height, 31% inches; diameter, 71% inches. 


Fr It 
628—F irTtrENTH CENTURY CaraccioLo Masoiica PrrcHer 
Pear-shaped body, with pointed spout, annular foot and twisted 
ye looped handle. Decorated, on a white ground, in green and 
phi — reddish brown, with a large bird form flanked by pine trees and 
by a border of roundels. 
Height, 634 inches. 


a ( 
629—FourTEENTH CENTURY OrvIETO PrimitivE MAagoLica 


ake PITCHER | 
Ce Pear-shaped body, with looped handle. Decorated, on a white 
ground, with a design of foliage. 
Height, 74 inches. 


é 3 - ad 
630—FIFTEENTH CENTURY CAFAGGIOLO Masouica PITcHER 


= Pear-shaped body, with pinched rim, pointed spout, annular foot 
Ta, and flat straight looped handle. Decorated, on a white ground, 
in blue, with a conventional fish, scrollings and oak-leaf forms. 


Height, 7g inches. 


ligt Tr(3arwt 0 Ag r-rA— 
631—FirreentuH Century Orvieto Masonica SCALDINO 
_ _Bucket-shaped, with straight sloping sides and ball handle. 
~- “=~ Decorated, on a white ground, in manganese, with two circular 
medallions occupied by ‘flotated crosses. (Repaired.) 


Height, 51% inches; diameter, 6% wmches. 


Note: A scaldino was used with burning charcoal for warming the 
hands and feet. 
(SN \ a) 


632—FourTEENTH CrEnTURY OrviETO PrimiTIvE MAsoLica 

Ke PITcHER 

~— “"— Pear-shaped body, with cylindrical neck, pointed spout and flat 
looped handle. Decorated, in green and manganese, with 


pointed leaf, circular patched flower forms and lozenged border. 


(Repaired. ) 


¢ 


Height, 71/4, inches. 


635 


633—FourTEENTH CENTURY OrviETO PriyitivE. Masorica 
PITCHER iia 6) (Oe 
ety 2 Pear-shaped body, with pointed spout and straight looped/han- 
Z J dle. Decorated, on a white ground, in green and manganese, 
with a looped border around the shoulder, the body with panels, 
two occupied by an imbricated patterning, two by leaf forms 
and three by lions’ heads modeled in relief. (Repaired.) 


Height, 7% inches. 


6384—FIFTEENTH CENTURY CAFAGGIOLO MAJOLICA RO 


LBARELLO 
Cylindrical shape, with incurved sides and annular rim. Deco- 
ie ey ¢* rated, on a white ground, in blue and green with touches of 
manganese, with two bands of pointed-leaf scrolls between bor- 
ders of lines. 
Height, 87, inches. 
W.-M . Yunctkhur 
635—FirrrentH Century CaraccioLo Masorica ALBARELLO | 
Incurved cylindrical shape, with high neck and sloping base. 
Fo “Decorated, on a white ground, in blue and manganese, with ver- 
tical and horizontal bands of pointed-leaf forms on straight 
stems. 
Height, 91% inches. 


638 637 636 


636—SIXTEENTH CenTURY GusBBIo Lusrrep Magorica PLATE (By 
a Maestro Giorgino) 9404) CZ, | 
o— ~~ Circular shape, with deep flat rim. Decorated, on a- white 
ground, in lustred yellow and blue, as to the rim with a pattern 
of pointed gadroonings and as to the center with a seated figure 
of St. Jerome in the wilderness. 


Height, 2 inches; diameter, 81 inches. 


Mine L ONG 
637—FIrtEENtH CrEentTURY Papuan MasouicaA VASE 


Bottle-shaped, with globular body, high cylindrical neck and 
annular foot. Decorated in the “stecco” manner of low relief 
oO on a white ground, colored in yellow and green. Around the 
body are four circular medallions, one occupied with the Sacred 
Monogram “I.H.S.,” another with the profile head of a woman 
with flowing hair, and the two others with men’s profiles. The 
neck has a banded ornamentation. 
Height, 84% inches. 


a | 
Wye Shree 
638—SIXTEENTH CENTURY PapuAN Magonica PLATE; 


Circular shape, with deep rim. Decorated in “stecco” work 

ae on a yellow ground, as to the rim with a scrolled flower and leaf 
border, as to the center with a shaped escutcheon bearing a 
coat-of-arms of a lozenged band. (Repaired.) 


Diameter, 8° inches. 


640 639 641 


639—FourTEENTH CENTURY OrvIETO PrimitivE MasoLica 


PrrcHer WH: Ue ye pee 
9722  Pear-shaped body, with pinched rim, flat straight looped handle 


and flat base. Decorated, on a yellow ground, in green and 
manganese, with a decoration of horizontal lines and vertical 


branches of leaves. 
Height, 73 inches. 
peas ( 


640—FIrTEENTH CENTURY Orvieto Masoiica Bow 
Circular coupe-shaped. ‘The interior decorated, on a white 
_ ground, in green and manganese, with a diagonal bend, a her- 
QS —  aldie device of the lily of Florence, two stars and two billets and 
the fable of the Stork removing a bone from the Wolf’s throat, 
with a landscape in the background. (Repaired.) 


Diameter, 7% {8 inches. / 


The 2. PD. C 

641—F ourTEENTH CENTURY OrviETO PrimitivE Masoxuica Bow. 
Shallow body, with wide flat rim. Decorated, on a white ground, 

», ‘ae in green and manganese, as to the rim with a toothed and hatched 
border and as to the interior with leaf-forms and pointed shield 
occupied by an armorial bearing, all on a hatched ground. (Re- 

paired. ) 
Diameter, 85 inches. 
Kerf R jee = 

642—FouRTEENTH CENTURY Puan Orvieto Masonica Bown 
Circular shape, with two ear handles. Decorated, on a white 


ground, in green and manganese, with a pattern of foliage. 


Height, 4% inches; diameter, 8°4 inches. 


645 644 643 


643—FouRTEENTH CrenTURY Orvieto Primitive Masotica DEEP 
PLATE Vy - ty : , 
oe Circular shape, with flat rim. Decorated, on a white ground, in 
oi bs green and manganese, as to the rim with meander and gadrooned 
pattern borders, and as to the center with a man’s head in striped 
hood surrounded by scrollings on a hatched ground. (Re- 

paired. ) 


Diameter, 97, inches. 

644—FIFrTrEENTH CENTURY Cananere tg ae ALBARELLO 
Incurved cylindrical shape. Decorated, on a white ground, in 
ye yellow and blue, with a pattern of imbrications and a band in-> 
Je scribed in Roman letters: “S. Torce Liqua.” 


Tr - 


645—FouURTEENTH CENTURY ORVIETO PRIMITIV, 


/ 
Height, 8%. inches. 


AJOLICA Bown 


Circular shape, with flat rim. Decorated, on a white ground, 
Pees in green and manganese, as to the rim with radiating bands of 
. —— color, as to the interior with a circular eight-ray starred medal- 
lion in the center surrounded by four swimming fish. (Re- 

paired. ) 


Height, 38% inches; diameter, 9Yg inches. 


648 647 


646 
1-H * SPS Ee re 


646—FourTEENTH CENTURY OrvieTo Primitive Masorica DEEP 
PLATE 

Circular shape, without rim. Decorated, as to the interior, with 

a figure of a heraldic lion and with pierced pointed-leaf forms 

on a hatched ground. 


s o£ 


Diameter, 9 inches. 


647—FourTEENTH CENTURY SIENESE Pirie Maa 
Cylindrical shape, with two flat looped handles. Decorated, on 
A ile a gray ground, with the outlined figure of a lion and a plant 
with heart-shaped leaves. (Cracked.) 


Height, 8 inches; diameter, 6 inches. 


Saree 


648—FourRTEENTH CENTURY ORVIETO Hisar ashe oe 
PITCHER A | ZACK 
i s7<2 — Cireular shape. The rim decorated, on a Ste ground, with 
radiating lines of alternate colors. The center is occupied with 
the Lily of Florence within a zigzag border. (Cracked. ) 


Diameter, 91 inches. 


651 


649—FourTEENTH CrENTURY OryreTo Primitive MaJorica 
PITCHER Mek bac Y | 
> . ¢¢  Pear-shaped body, with pinched rim, pointed spout and looped - 
handle. Decorated, on a white ground, in green and manganese, 
with a winged dragon. (Repaired.) 
Height, 91% winches. 


650—FourRTEENTH CrntTuRY CarFacGcioLo PrimitivE Magsonica 
, DEeErEp PLATE , Toe 4 : | 
ies Circular shape, with flat rim. Decorated, on a white ground, 
UE . . ° ° 
“2-0 as to the rim with groups of radiating lines and crosses, as to 
the center with a bust of a woman, surrounded by oak leaves. 
Diameter, 9 inches. 
Note: Other examples of Cafaggiolo ware of so early a make as this 
are practically unknown. 
(\ tN ik 
651—FourTEENtH CENTURY OrvieTO PRIMITIVE MaAJOoLica 
PITCHER 
9 Nie bees ‘ ° . . . . 
~V ~Pear-shaped body, with high cylindrical neck, pointed spout 
and straight looped handle. Decorated, on white ground, in 
green and manganese, with a patterning of large leaves and 
scalloped bands. On the body are conventional pine-cones and 
under the spout a lion mask, all raised in low relief. 


Height, 1058 inches. 


Century IranIAN SreneseE Masonuica Prrcuer 


Pear-shaped body, with pointed spout, looped handle, cylindri- 
Be cal stems and circular foot. Decorated, on a white ground, with 
7 CS —~ acanthus-leaf scrollmgs and a festoon of fruits, enclosing a 
ground of yellow occupied by the half-iength figure of a young 
woman. Below is a scrolled label, with the inscription in Roman 
letters, “Dia Sena,” and below this two voluted cornucopie 
enclosing an acanthus-leaf ornamentation. (Repaired. ) 


Height, 9% inches. 


653—F OURTEENTH CENTURY ORVIETO Sea Masourica Bown 
witH HANDLES SQL COE 
Irregular circular shape, with narrow Ane rim and one Pie 
2 i ee ae handle. Decorated, on a white ground, as to the interior, with 
a fantastic winged animal with a human head from which smoke 
issues and with a primitive acanthus-leaf form. (Repaired.) 


Height, 3°% inches; diameter, 101% inches. 


( 
A \ 
654—F irrEENTH CEenTURY FarenzA MagsoricaA ALBARELLO 


{\ 


\ 


Cylindrical shape, with incurved neck and foot. Decorated, 

.~ ona white ground, in various colors, with a heraldic eagle, sur- 
rounded by a garland of fruits, flowers and leaves and a scrolled 
label with the inscription “Dia Captolicon.” 


p 


Height, 934 inches. 


655—Pair oF FIFTEENTH CENTURY Petes: AJOLICA VASES. 


CovERs Ve a 
,._ Pine-cone shaped, with covers, on cylindrical spreading feet and 


with pointed finials. Decorated with an all-over raise Ue ee 
ing of pointed scales symmetrically disposed and invested with 
a fine yellow lustred glaze. (One repaired.) 


1 od 


Height, 11 wmches. 


656—FourRTEENTH CENTURY OrRvIETO PRI 


PITCHER Var: 4 - 

Pear-shaped body, with circular foot and looped handle. Deco- 

,._ rated, on a gray ground, in manganese, with delicate scrollings 

cd surrounding a medallion occupied with the Gothic letter “M” in 
green. 


ITIVE MAJOLIcA 


Height 8 inches. 
{\ lr MW 
657—FouRTEENTH CENTURY ORvVIETO PrRimitTivE Masorica Bow. 


ge Coupe-shaped and decorated in green and manganese. 
= Diameter, 84% inches. 


658—FourTEENTH CENTURY OrviETO Primitive Masoxtica Bown 
witH HANDLES 
4 5*= — Circular shape, with two handles. Decorated, as to the interior, 
with a coat-of-arms. 
Height, 314, inches; diameter, 81/4 inches. 


i‘ P = 
i A \ VA 
ie MN ; Str Ly" 


659—SIXTEENTH CENTURY GuBBI0 Lusrrep Masouica PLate (By 


> motes 


Maestro Giorgio) 


Circular shape, with deep flat rim. Decorated, on a blue ground, 
in lustred colors, as to the rim with a border of military trophies, 
drums and scrolled ribbons, and as to the center with a figure 
of a seated Amorino. 

Diameter, 81, inches. 


Note: For centuries the plates, dishes and plateaux made in the fif- 
teenth century by Giorgio Andreoli, ennobled and perhaps better known 
as Maestro Giorgio, have been esteemed as exhibiting a supremacy of 
beauty beyond that of all the lustred ware which from the outset made 
famous the little town of Gubbio in the Duchy of Urbino. For over a 
generation their values have so steadily increased, owing to their com- 
parative scarcity, that the sums paid for fine examples seem well- 
nigh incredible. It must be remembered, however, that Giorgio pro- 
duced his metallic lustre ware only from 1519 to 1587 and that even 
so but a very small portion of his output survives. 


/) ai / P 7 Vy bo Ait 4 
L ghav A - Manrethine O- 


660 661 «662 
yh Spleen 
660—Firreentu Century Farnza Masolica Vase 
Cylindrical shape, with incurved neck and foot. The body deco- 
Wes rated, on a white ground, in blue, with an all-over patterning of 
fan-shaped palmettes, the neck with an egg and dart border. 
(Cracked. ) 


Height, 11 inches. 


iy: W - >A | 
661—FourTEENTH CENTURY ORVIETO PRIMITIVE Masouica DEEP 
Diso with HANDLES 

_ ,  Cireular shape, with flat rim and two projecting ear handles. 
6 ¢ —~ Decorated, on a white ground, in green and manganese, as to the 
rim with a meander border, as to the interior with the figure of 
a fantastic winged animal in a contorted posture and surrounded 

by primitive acanthus-leaf sprays. 


Height, 4 inches; diameter, 1144 inches. 


662—FourTEENTH CxNnTURY Orvieto  Priuirive Masonica 
PITCHER ee - 

) Ld ‘<— Pear-shaped body, on cylindrical foot, with pinched neck and 

straight looped handle. Decorated, on a white ground, in green, 

with whorls, serrated leaves and a mythical animal. 


Height, 1058 inches. 


663 O64 665 


663—FourTEENTH CENTURY OrvIETOQ, PrimitivE Magso.ica 


PITcHER C7 ( Sante 
A < @{ Pear-shaped body, with pointed spout and round looped handle. 
Decorated, on white ground, in green, with the outlined figure 
of a stag with antlers and horizontal bands. (Repaired. ) 


Height, 844 inches. 


664—FIrreEENTH CENTURY Papeete) oe: ASE WITH 
HLANDLES 
Pear-shaped body, with cylindrical neck and two projecting 
oS Val es looped handles. Decorated, on a white ground, in blue, as to the 
body with panels occupied by a palmette-shaped flower with 
pointed leaves and by oak-leaf sprays, and as to the neck with 
a border of roundels. 
Height, 8 inches. 


Cle (Serle nr 

665—FirreentH Century Farnza PrimitrivE Masorica PircHEer 

Pear-shaped body, with pinched rim and broad flat looped han- 

, « dle. Decorated, on a gray ground, in dark blue, green and 

7 yellow, with an oval medallion surrounded by scrolled ribbons 
and occupied by a coat-of-arms inside scrolled floral border. 


Height, 8 inches. 


Note: This is one of the earliest pieces of Faenza majolica known to 
be in existence. 


666—FirtEENTH CrntuRY Caraccioto MavsoricA YasE WITH 
HANDLES ite YVU- fa thor 
- Cylindrical shape, with annular rim and foot and two straight 
iO soa looped handles. Decorated, on a white ground, in blue, the body 
with panels of pointed quatrefoil medallions surrounded by leaf 
forms and enclosing the arms of the Siena Hospital (a cross on 
a three-barred gate), the shoulder and neck with meander trefoil 
and rounded borders. 
(Illustrated) Height, 125% inches. 


667—F ouURTEENTH CENTURY ORVIETO oe Masoxrica DEEP 
PLATE Vr he Sw CM 

- )4 & Circular form, with flat rim. Decor dted, in green and manga- 

nese, as to the rim with archaic egg and dart pattern, as to 

the interior with a circular medallion in the center occupied by 

a flower and double-leaf form and surrounded by a pointed 

meander patterning. (Chipped.) 


Height, 35. inches; diameter, 13 inches. 


(Illustrated) 
668—F'ouRTEENTH CENTURY SERN PRIMITI MAJOLICA 
PIrcHER Yarn / /\7 on Dh wes, 


_,.  Pear-shaped body, on cylindrical foot, with pinched neck and 
- U¥ — straight looped handle. Decorated, on a white ground, with 
a horse bearing a sack and with conventional floral sprays. 


(Illustrated) Height, 11¥2 inches. 


669—FourtEeNTH CENTURY OrvieTo Primitive Masorica DEEP 
PLATE ( CZ Ee. ae ent Chg YALE 
ve Irregular circular shape, without rim. Decorated, on a white 
ground, in green and manganese, with the figure of a bird and 
pointed-leaf forms in outline and hatched. 


Height, 352 inches; diameter, 1114 inches. 
(Illustrated) 


Wn t- oe 

670—FourTEENTH CrentrurY Topr Primitive Masouica PITCHER 
Pear-shaped, with pointed spout and flat looped handle. Deco- 

_,. rated, on a white ground, in manganese, with the silhouetted 


i ae figure of a dog-like fantastic animal with a dragon’s claws. 


(Illustrated) Height, 11 inches. 


899 099 


OL (Qrrwrige 
671—Fereentu Century CaraccioLo Masorica VASE 
Cylindrical shape, with sloping neck and foot. Decorated, on 
a white ground, in blue, with a diaper of lines forming lozenges 
in each of which is a vertical dash of color. 

Height, 9 inches; diameter, 814, inches. 


ob 


671 


672 673 


672—FourtTEENTH Century Orviero Primitive Masoiica DEEP 

ve one Qe (Senne ; 
Circular shape, without rim. Decorated, on a white ground, in 
green and manganese, with a circular medallion occupied by a 
grotesque bird form, with pointed and oak-leaf forms and sur- 
rounded by a meander border. 


| 
J? 


Height, 358 inches; diameter, 11 inches. 


A 


673—FouRTEENTH CENTURY OrvieTo Primitive Masorica DEEP 
PLATE VEE MX. ytnr-in 

o6 Circular shape, with flat rim and gauffered edge. Decorated, on 

a white ground, as to edge with radiating lines, as to the in- 

terior with the raised figure of a fallen deer, colored and sur- 


rounded by outlined leaf forms. 
Height, 234 inches; diameter, 11 inches. 


(Illustrated) 


674 676 


674—FourtTrentuH Century Orvieto PrimitivE Masonica DEEP 


PLATE (Ges [3 LAnnaee gre 


ay 


{ 
\ 


0 


J & Circular shape, with flat rim. Decorated, on a white ground, 
in green and manganese, as to the rim with a pattern of radiat- 
ing lines, as to the interior with a large pattern of Saracenic 
interlacements on a hatched ground. 

Height, 23% inches; diameter, 1214 inches. 


f 


yn Aieyy | ie 
VAG, Fee 
675—F 1rTrEENTH CENTURY SIENESE Magsorica Drue Vase 
Reversed pear-shape, with curved cylindrical neck and two 
7 ~ looped handles. Decorated, on a white ground, in green, blue 
| and yellow, with a bound laurel wreath enclosing a diapered 
ground with rosetted scrollings and a broad band inscribed in 


Gothic lettering, “Triacha.” 
Height, 18 inches. 


(Illustrated) 


(Ocala! ww 
676—FIFTEENTH CENTURY CAFAGGIOLO Masoica Derr Disu 
Circular shape, with flat rim. Decorated, on a white ground, in 
, »¢. various colors, as to the border with a border of serpentine 
/ ‘T° ~~ figures and rays, as to the center with a scrolled and voluted 
lily on a ground of scrolled diapering. ( Repaired.) 


Diameter, 105% inches. 
(Illustrated) 


677—SIXTEENTH CENTURY PisAro Masoxttca Sour TUREEN AND 
CovER 
© » . +4 Circular shape, on foot. Decorated, on a white ground, in col- 
en ors, as to the cover with floral scrollings, as to the interior of 
the tureen with a subject of “The Baptism of Christ.” 


Height, 8 inches; diameter, 1058 ches. 


DisH witH HANDLES ~ nnn’ 


. 


678—F ouRTEENTH CENTURY ORVIETO PRIMITIVE ie 


ee Circular shape, with two scrolled pro jecting ear handles. Deco- 
rated, on a white ground, with a fantastic winged animal and 
heart-shaped leaf forms on a hatched ground. 


/¢ o 


Height, 43% inches; diameter, 133 inches. 


(Illustrated) 


679—FourTEENTH CENTURY Orvieto MasonticaA Derr DisH wiITH 


HANDLES 4) WweAagptne Le Say 
Circular form, with flat rim and two scrolled ear handles. Deco- 
rated, as to the interior, with an elaborate design, on a hatched 
background, of a fantastic animal, half-lion and half-man and 
with heart-shaped leaf forms. Surrounded by a chain of pat- 


terned border. 
Height, 51% inches; diameter, 1114 inches. 


ane 
j 
680—FirrrEENTH CENTURY CaracGioLo MasoricA Drrp DisH 
Circular shape, with flat rim. Decorated, on a white ground, as 
ag tt to the edge with a border of serpentine figures and rays in blue, 
a 0 as to the center with a large shield in blue, banded with yellow 
and surrounded by a wreath of pointed leaves in blue and yellow 
on a dotted ground. 
w Tisetrate d) De 1058 inches. 
£. roy ~ Y A 
z oe ae 
681—SIXTEENTH CENTURY ne Mato Drue VAsE 


Pear-shaped body, with incurved cylindrical neck and annular 
foot. Decorated, on a white ground, in blue and yellow, as to 

2 = the body with a ground of scrolled rosettes and palmettes, with 
a label inscribed in Gothic letters “Acicorie,” and as to the 
shoulder, neck and foot with bands of color and a border of 
palmette-shaped flowers. 


(INustrated) Height, 1384 inches. 
ay Pea 
SIXTEENTH CENTURY Papuan Masonic Bow 
Curved sides, with flat rim. Decorated, in varicolored “stecco”’ 
6 ¢ 0°— work, with borders of floral scrolled and zigzag patterns, the 
center with a circular medallion occupied by a coat-of-arms. 


682 


(Titistrated) ‘Diameter, 161% inches. 
aye ry: 6 Aa ay 

683—F ouRTEENTH CENTURY Topi Priuitive Masorica PrrcHEer 
Pear-shaped body, with large pointed spout, annular foot and 
| pn ve flat looped handle. The upper portion, only glazed, revealing 
ae ais the unglazed body at the foot. Decorated, on a white ground, 
in manganese, with a band of pointed interlacements on a 

hatched ground and with scrollings. (Repaired.) 


(Illustrated) _ Height, 105% inches. 
WMA 

684—FourTEENTH CrntTury Toprt Priuitive Masorica PrrcHEer 
Pear-shaped body, with large pointed spout and straight flat 
looped handles. Glazed in white and decorated on both sides 
with a heart-shaped medallion occupied by the coat-of-arms of 
the Orsini Family (two rampant lions and a tree) in low 

relief on a red ground. (Repaired.) 
(Illustrated) Height, 105% inches. 


—~0otl 
site 


€89 


RL orem SA at as inn 


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+ 


685—FourTEENTH CENTURY ORVIETO PRIMITIVE MASOLICA DEEP 
Disu VIM Nn 
Circular shape, with flat rim. Decorated, as to the rim, with 
radiating lines and as to the interior with a quatrefoiled inter- 
lacement and demi-rosettes on a hatched ground. (Repaired. ) 
Height, 23% inches; diameter, 121% inches. 
(Illustrated) 6. ¢ 
686—FiereentH Century Caraccio.o Masorica Prrcrer 

Pear-shaped body, with pointed spout and looped handle. Deco- 
3ST 4“ rated, on a white ground, in blue and yellow, with a large 
circular medallion formed by a wreath of pointed leaves and 
fine scrolls, enclosing a coat-of-arms in a shaped shield sur- 

rounded by scrolled ribbons. 
(Illustrated) , : pe ae UGE. 

C, SOA 


\/ 
687—FouURTEENTH CENTURY ORVIETO Proirivé MAJorica bee 


DisH witH HANDLES 
/da = Circular shape, with flat rim and projecting ear handles. Deco- 
rated, as to the interior, with a circular medallion occupied by 
a large oak-leaf on a hatched ground, and surrounded by a 
border of S-shaped scrolls. 
Height, 334 inches; diameter, 117g inches. 


mpi. Boh Yas 
688—FirrreNntH Century Farenza Masorica Druc PITCHER 
Reversed pear-shaped body, with cylindrical neck, projecting 
9 /S — eylindrical spout and flat straight looped handle. Decorated, 
on a white ground, with a large circular medallion bordered 
with a honeysuckle patterning and occupied by a scrolled 
label inscribed in Gothic letters, “Aqua de Melle,” by pointed 
honeysuckle leaf forms and by a device of the initials “G. B.,” 
surmounted by a cross. 


e 05 e 
(Illustrated) Height, 125% inches. 
689—FourTEENTH CENTURY OkRVIETO PRIMITIVE , . MAJOLIcA 
w, YY 
= ye PITCHER Yn lig: %- = 4 ue eS 


Reversed pear-shaped body, with cylindrical neck, projecting 
cylindrical spout and looped handle. Decorated on a white 
ground in green and manganese with a pattern of interlacements 
and two crows on the neck. 


(Illustrated) Height, 11%4 inches. 


689 


aati sheen 


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690—FourTEENtTH Century Orvieto PrimirivE Masorica Ewer 
Spherically shaped body, with long cylindrical neck and stem, 
— circular foot and looped handle. Decorated, in green and man- 
ganese, with a patterning of scrolls and human figures. On 
the neck and modeled in relief are a shield with a heraldic eagle, 
a man’s head and two pine-cones. 


Height, 11 inches. 


(Illustrated) 


691—FourtrentH Crntrury Orvieto . Primitive Mavorica 
(O/Z, | Pret CC, Z 

PITCHER ( UL alc Cr, L- 

_ Pear-shaped body, with pinched neck and loop handle. _ Deco- 
rated, on a white ground, in green and reddish brown (man- 


ganese), with a conventional bird flanked by pine trees. 
Height, 111% inches. 


(Illustrated) 


692—FourTEENTH CENTURY Orvieto Primitive Masorica EWwER 
Spherically shaped body, with long cylindrical neck and stem, 
circular foot and looped handle. Decorated, in green and 


a, OV 


oa manganese, as to the neck with a coat-of-arms and two married 


couples exchanging flowers, and as to the body with three cir- 
cular medallions symmetrically placed. 


Height, 271% inches. 


(Illustrated) 


No. 690. FourTrEENTH CrEntruryY Orvieto Primitive Masorica Ewer 


No. 691. FourreEENTtTH CrentrurY Orvieto Primitive Magouica PITrcHER 


No. 692. FourrEeentH CENTURY OrvieTro Primitive Magorica Ewer 


693—FourreEENTH CrEentTURY OrviETO PrimitivE Masonica DEEP 


— Circular shape, with turned-over rim and two scrolled projecting 
ear handles. Decorated, on a white ground, in green and man- 
ganese, with a circular medallion occupied with the figure of a 
woman in striped dress standing near a trefoil-leaved plant 
and seized by a fantastic winged animal with human head. 


Height, 51 inches; diameter, 1258 inches. 


694—FourTEENTH CENTURY _ ORVIETO PRIMITIVE , Masorica 
PITCHER Nn % A Lew 

Reversed pear-shaped body, with curved cylindrical neck and 

a ot ee straight looped handles. Decorated, on a white ground, 

| in green and manganese, with panels of interlaced pattern and 
meander scrolls and with a looped pattern around the neck. 


Height, 1258 inches. 
(Illustrated) 


695—TourTEENTH CENTURY ORvVIETO PRIMITIVE \Mayorica DrEp 
| Dish with Hannes Ve ys APtnrennr 

, «¢~ Circular shape, with scrolled projecting ear handles. Deco- 

: rated, on a white ground, with a circular medallion occupied by 

a figure of the Agnus Dei with cross and halo, surrounded by a 


deep border of pointed interlacements. 


pa) 
a 


Height, 53% inches; diameter, 133 inches. 
(Illustrated) 


Diso witH HANDLES (O20) (S purrs Ry tree 


695 


No. 694. FourTEENtTH CrentTURY Orvieto PrimitrivE Magouica PitcHEerR 


No. 695. FourTEENTH CENTURY OrviETO PrimitivE Magouica DrEep Disu 
witH HaAnpLEs 


DAVANZATI PALACE: SCULPTURES IN STUCCO 
AND TERRA-COTTA 


Pes 


/ 3 ; x A 
Or Sernet Wger— 
696—F IvrreEENTH CENTURY FLORENTINE PoLycHROME Stucco Bust 


Bust portrait of Saint Anthony, Archbishop of Florence. 'This 
life-size portrait bust shows the churchman, habited in priestly 
robes, as a bald-headed man of mature age, with thin-lipped 
mouth tightly closed and downcast eyes. On a semi-octagonal 
base of gilded wood carved with quatrefoil rosettes and with 
voluted consoles at the angles. 


gio ‘— 


Height, 1734 mcehes. 


S700 


Perrarch Jrrn, .- 

Portrait bust of Francesco Petrarca, the Bory 

close-fitting Venetian hood and is shown in full face glancing 
towards his left. On a fifteenth century molded base of colored 


and gilded wood. 


Height, of bust, 153g mches. 


698—F rvrEENTH CENTURY FLORENTINE PotycHRoME Stucco Bust 
or Date Mt Sarutlgeatr 

4] "i ‘<- This bust portrait of one of Italy’s greatest glories, Dante 
Alighieri, was executed early in the fifteenth century from the 

death mask of the poet. It shows him with downcast but open 

eyes, a clean-shaven face, and wearing the close-fitting Floren- 

tine cap with ear lappets, and a gathered robe with turned-back 

lapels at the neck. On an octagonal molded carved and gilded 


base. 
Height, 15 inches. 


Note: This famous bust of the poet, executed, as was then the almost 
universal custom, from a death mask, was the object of many ineffectual 
attempts to purchase on the part of the late J. P. Morgan, who regarded 
it as one of Professor Volpi’s most valuable treasures. 


=e ) Gx 9 MOMMA. 


699—F irTreentH CENTURY FLORENTINE PoLYCHROME 'TERRA-COTTA 


Bust or Pirro pE Gino CaAPPponli 


This life-sized bust of Pier Capponi, the Florentine patriot, 
shows him in full face clothed in a loosely gathered robe laced up 
at the throat and with bushy curling hair falling to his shoulders. 
It has a molded hexagonal base and is supported on a bracket 
with molded and shaped apron, the plinth of which is inscribed 
in Latin as follows: “opriMUS . G. G. MERCA . DIGNUS . OVEM . 
CERNIS . DENIQUE . LAUDE . FUIT . OMNIUM . FLIX « TALI . 
FLORENTIZ . ALIUMNO . POSSE . PUTAS . UNQUAM . TE 
REPERIRE . PAREM,” a eulogy, namely, of the patriot “whose 
like,” it says, “Florence shall never see again.” 


Note: In addition to its artistic value, the historical interest of this 
life-like bust is very great. Pier Capponi, as the Florentines called him, 
by his sturdy honesty and fearlessness delivered his city from the tyranny 
of Piero de’ Medici. His blunt, “It is time to end this baby government,” 
was the only weapon needed to depose Piero and drive him from the city. 
More famous, however, is his reply to Charles VIII when, in 1495, the 
French King threatened to sound his trumpets unless the exorbitant 
sum he exacted from the city were paid. ‘Then we will ring our bells,” 
retorted Capponi, and the French King yielded and left Florence. 


Height, 4334 inches; width, 28% inches. 


No. 699. FirreentH CENTURY FLORENTINE PoLYCHROME 'TERRA-COTTA 
Bust or Prero pE Gino Capponi 


* 700—FIFTEENTH CENTURY I'LORENTINE nee Stucco Bas- 
& 
o 


A 
| eat (TL, entre Kanne 


A full-length figure of the Virgin dressed in a girdled robe of 
red and a flowing blue mantle and seated on a bench flanked by 
paneled pilasters. On her right knee she supports with both 
hands the nude Infant Christ wearing a necklace of beads and 
supporting Himself by His outstretched left arm. The Virgin 
has a rayed nimbus, the Christ one with a cross. The figures are 
in a round-arched niche, the arch filled with a shell-like ornamen- 
tation. In a contemporary square molded frame of gilded and 
painted wood on a molded base with a plain plinth. 


Height of stucco, 227 inches; width of stucco, 17%% inches. 


nc cscui-apaniee. pegemanepes teem ah trae ae _ — 7 ange ED Ree esis! Ne 
é z PE SET ET PPE on pai ater POSES Se GEES: ei 


e : 
Se WANs 
701—FIFTEENTH CENTURY FLORENTINE PoLyCHROME Stucco Bas- 


RELIEF (School of Donatello: 1383-1466) 


Oblong bas-relief of a half-length figure of the Virgin, who, 

‘js oo a with bared right arm, restrains the Christ Child, who, habited 
in a single slight garment, steps forward to the spectator’s 
right, His feet being supported on a horizontal molded ledge 
at the bottom of the relief. Both the Mother and Son have 
gilded haloes and the background is decorated with a scrolled 
patterning of five-leaved rosettes. In a contemporary tabernacle 
frame of painted and gilded wood, with molded cornice and 
painted frieze supported on two fluted and astragalled pilasters 
with composite capitals on a molded base, the plinth painted 
with an “Ave Maria” inscription in Roman lettering. 


Height of terra-cotta, 357g inches; width of terra-cotta, 20% inches. 


702—FIrreENtH CENTURY FLORENTINE PoLYCHROME ‘TERRA-COTTA 


fi Minn capes ALTO-RELIEF ue ny 
6 7d Half-length figure, in high relief, of the Virgin, with blue tle 
and red tunic, supporting in her lap the sleeping Infant Christ, 
who lies with relaxed limbs and with His head fallen forward in 
a sleeping posture. The Virgin, with a look of maternal 
solicitude, lovingly presses the cheek of the Divine Child with 
the forefinger of her right hand, clasping His body with her left. 
On old carved gilded wood base. 
Height, 24 inches. 


52. 


—_ 


o 


703—EarLy FirreentH Crntury FLorENTINE POoLYCHROME 


Aaa 


TERRA-corra ALTO-RELIEF (By Jacopo della Quercia: 

13747-1438) (MAs (3 wet Aga 
The Virgin, shown in half length, with closely braided hair and 
flowing blue mantle fastened at the neck with an oval jewel, 
holds with her left hand the standing Infant Christ, whose right 
hand fingers the neck of His short linen tunic, while His left 
clasps the thumb of His Mother’s left hand. The Virgin’s left 
hand caressingly holds the bare feet of her Son. On a carved 


and molded base of gilded wood. 
Height of terra-cotta, 31% inches; width, 247% inches. 


4. es, “ie uh 


704—F irTEENTH CENTURY FLORENTINE POLYCHROME 'l'ERRA-COTTA 
ALTo-RELIEF (By Lorenzo Ghiberti: 1881-1455) 

The half-length figure of the Virgin, clothed in a red robe and 
blue mantle with frilled border, holds in both her arms the 
Infant Christ, pressing Him closely to her side in an access of 
maternal love. He is clothed in a single linen garment and 
rests His left hand on His Mother’s arm and His right on her 
right hand, pressing His chubby cheek closely to her face. Ona 
molded, gilded and painted base of wood, and placed in a square 
tabernacle with trefoil pointed-arch opening and two hinged 
doors painted with vases of flowers. 


Height of terra-cotta, 28%% inches; width, 1814 imches. 
(Illustrated) 


Note: Though most of Ghiberti’s existing work is in metal (he was 
a goldsmith and the son of a goldsmith), there are many terra-cotta 
and small works, according to Sir J. C. Robinson, which are known to 
be from his hand. 


By Lorenzo GHIBERTI: 1381-1455 


No. 704. Frirreentu Century FLORENTINE PoLYCHROME 'TERRA-COTTA 
ALTO-RELIEF 


bayey 3 || Fe oe pe Agi 


705—FOuURTEENTH CENTURY FLORENTINE WHITE MARBLE me 


(By Arnold?) 


Half-length figure of the Virgin, in a tight-fittmg robe and 
flowing mantle. With her right hand she presses to her bosom 
a pomegranate and with her left she supports the Infant Christ. 
On a molded base of gilded and: painted wood. 


Height, 35% inches; width, 282% inches. 
(Illustrated) 


Note: Arnoldi, the sculptor of the figure, is chiefly known for his 
elaborate altar now at the Loggia del Bigallo, Florence. 


By Arno.opi 


No. 705. FourteentH Century FLorENTINE WHITE MarBLeE Ficure 


/ - (> / ‘f { 4 
CUR Oi 
706—F vrrentH Century FLorENTINE PotycHroME Stucco Bas- 
RELIEF (By Donato de’ Bardi, called Donatello: 1383-1466 ) 
<— The half-length figure of the Virgin, clothed in a mantle of gold 
brocade richly decorated with a scrolled leaf-patterning and a 
head-covering of gold cloth patterned with incised dottings, lov- 
ingly bends her head to meet that of the Infant Christ, whom she 
protectingly clasps with both arms. He is clad only in a gold 
brocaded garment and His legs are bare. As He snuggles close 
to His Mother, he affectionately presses both His hands to her 
face. The background is of blue, studded with gold stars. In 
a tabernacle-shaped frame, painted in cream color and gold, 
flanked by two fluted and astragalled pilasters which support 
a molded cornice and frieze painted with a honeysuckle pattern- 
ing of gold on a blue ground. The plinth of the molded base 
bears the inscription in Roman lettering of gold on a blue 
ground: “sg. M. INTERCEDE . Pp. NoBIs.” Above the terra-cotta 
is a hexagonal molded arch with the spandrels filled by the sacred 
monogram in gold. 


Extreme height of terra-cotta, 48 inches; width of terra-cotta, 
3114 inches. 


(Illustrated) 


Note: This is a work well known to Italian critics, who have united 
in pronouncing it to be an early work of the prolific Donatello. 


ii isin wn SC MCE 


ME HEI SR 
csdhtuabontamemenemteed 


By Donato pe’ Barpr (DonatTetio): 1383-1466 


No. 706. FrrereentH Century FLorEentTINeE PoLtycHromMeE Stucco Bas-RELIEF 


By Bernarpo Rosseituni: 1409-1470 


* No. 707%. Firreentno Century FLorentinE Paintep Woop Bust oF A 
Youne Giri 


SAD ABE Si 


By Bernarvo Rosseiuini: 1409-1470 


* No. 707. FirreentH Century FLORENTINE PaIntED Woop Bust oF A 
Younc Giri 


* 707—F ir TEENTH CENTURY FLORENTINE PAINTED Woop BUST OF A 
Youne Girt (By Bernardo Rossellini: 1409-1470) 


Bust of an aristocratic girl maiden belonging to one of the 
Patrician families of Florence. Her lips are parted in a pro- 
vocative smile and the whole young face, with its soft brown 
eyes, seems a-sparkle with the joie de vivre. Her fair hair is 
plaited and twisted tightly around her head, and shows traces 
of having been originally gilded. She is dressed in a tight- 
fitting tunic of green, cut square across the neck and bordered 
with an embroidered edging of gold, while across her shoulders 
is draped a dark green mantle, lined with red and folded back 
in two lapels so as to show the tunic beneath. ‘The bust stands 
on its original semi-octagonal base of wood, molded above and 
below, its shallow plinth being painted in a pattern of gold 
scrolling on a black ground. 


(Illustrated) 


Note: This altogether delightful little bust, perhaps one of the most 
fascinating bequeathed us by the Italian Renaissance, came direct to 
its present owner from a Patrician family of Padua, whose name for 
obvious reasons cannot be given, but in whose possession it has been 
for many generations. But although its provenance was Padua, its 
workmanship is undoubtedly Florentine and of the Donatello School. 
By the family in whose possession it remained so long and by tradition, 
it has always been confidently attributed to Bernardo Rossellini, who, 
like his young brother Antonio, was one of the favorite pupils of 
Donato de’ Bardi, better known as Donatello. Although some Italian 
critics have professed to see here the hand of Desiderio da Settignano, 
the majority find in its air of innocent purity conclusive evidence that 
tradition is correct and that the bust is the work of Bernardo Ros- 
sellino. 


iy 


( 


oul 1a 


it 
WMG (dere Agent 


708—Fivrenntn Century FLorENTINE PoLtycHRoME STUCEO 


add — 


“Bambino” (By Bernardo Rossellino) | 


Life-size full-length figure of a “Bambino”, or possibly a Child 
Christ. He lies on his back with his left leg bent upward and 
his hands close to his body. Realistically colored. 


Length, 2014 inches. 


709-—FourTEENTH CENTURY ITALIAN PoLYCHROME TERRA-COTTA 


Auro-reuizr (By Il Maestro della Cappella Pellegrini: , 

XIVrtrH CENTURY) Wie (S | eae NOS a 
A half-length figure of the Virgin, dressed in a red tunic with 7. 
tightly-fitting sleeves, with a wimple covering her head and fall- 
ing over her left shoulder, with her left arm she holds the Infant 
Christ, who has one hand pressed on His Mother’s breast, and 
turns the toes of His right foot upward in a gesture of childish 
exultation. In her left hand the Virgin holds a pomegranate, 
which she regards with downcast eyes. On a semi-octagonal 
molded and painted base. The whole set in a rectangular taber- 
nacle, with trefoil arched opening and two hinged doors, painted 
with quatrefoil rosettes and borders of interlaced pattern. 


Height of terra-cotta, 3614 inches; width, 2014, inches. 


Note: Dr. Wilhelm von Bode did not hesitate to attribute this very 
interesting terra-cotta to the fourteenth century Florentine now known 
as I] Maestro della Cappella Pelligrini. 


0 


710—FIFTEENTH CENTURY F'LORENTINE PoLYCHROME Sru¢co Bas- 


RELIEF (School of Donatello: 1383-1466) 

The Virgin, seen in half length, and modeled in low relief, is 
dressed in a red robe with tight-fitting sleeves and raises her 
clasped hands in adoration before the Infant Christ, who sits 
in front of her, clasping her left arm with His left hand and 
holding a fold of her white veil in His right. He is dressed 
in a gathered robe of white linen with a broad girdle. The Vir- 
gin’s head is surrounded by a large rayed gold nimbus and 
around the Child’s head is a gesso-worked halo. The back- 
ground is blue, and above is seen the Dove of the Holy Spirit 
surrounded with gold rays, descending with outstretched wings. 
The original carved wood, gilded and painted frame is round- 
arched, with projecting circular medallions and scrolled leaves 
at the springings and has an inscription around the bas-relief 
in Roman lettering, “Gloria in excelsis Deo et in terra Pax 
hominibus Bone Voluntatis,” and below, “Ave Maria Gratia.” 


% 
Height of terra-cotta, 4014 inches; width of terra-cotta, 25 inches. 


(Illustrated) 


Scuoot or DoNATELLO 


No. 710. Frrreentu Century FLorentingE PoLtycHromeE Stucco BAs-RELIEF 


% 


711—F ourTEENTH CENTURY VENETIAN eevee ae ONE Woop Stat- 
ae Ud ‘3 rn 
Full-length standing figure of the Virgin dressed in a red tunic 
girdled at the waist, a white wimple from which her curling hair 
escapes, covering the head and falling over the shoulders, and 
a voluminous blue mantle the folds of which she supports with 
her right hand, in which she also holds a flower. On her left 
arm she supports the Infant Christ, nude, save for a fold of 
His Mother’s mantle. He sits upright and with His right hand 
holds a fold of His Mother’s head-covering. On the original 
octagonal molded and colored base. 


Height, 311% inches. 


712—F rvreentH Century FLorENtTINE PoLycHROME 'TERRA-COTTA 

S Sraturrts (Attributed to Antonio Rossellino: 1427-1478) 

AL / /0 — Seated figure of the Virgin, in blue mantle with embroidered 
border and red tunic, holding on her right knee and encircling 

with her right arm the Infant Christ, who, clothed in a single 

garment, sits upright clasping with both hands the fingers of 

His Mother’s left hand. Beneath the folds of her mantle are 

seen the Virgin’s bare feet. On hexagonal base of old carved 


and gilded wood. 
Height, 2558 inches. 


7183—FourRTEENTH CENTURY ITALIAN POLYCHROME 'TERRA-COTTA 
TABERNACLE (By Il Maestro della Cappella Pelle- 
grint) 

The Virgin, in a red robe and blue mantle, her long curling hair 
framing her face, with its rapt expression, stands in a gilded 
pointed-arched niche with fluted ribbings. On her left arm she 
holds the nude Infant Christ, who stretches out His right leg in 
a childish abandon and seems to look with pleasure at the fruit 
He holds in His right hand. Serving as a background are 
the folds of a heavy drapery fringed at the edges, which is 
supported by two Amorini who stand on circular molded and 
shaped pedestals crowning the clustered fluted columns with 
leaf-carved capitals which flank the figures and form the side 
of the tabernacle. Above is a double-pointed arch, the space 
between occupied by a cherub and scrolled foliage, and the outer 
arch heavily crocketed with scrolled pointed leaves. ‘The base is 

molded and has a plain plinth. 
Height, 5234 inches. 


(Illustrated) 


Note: This is considered to be the most beautiful existing work of 
Il Maestro della Cappella. 


By It Magstro DELLA CAPPELLA PELLEGRINI 


No. 713. FourTeentH Century Iranian PotycuHromMe 'TERRA-COTTA 
TABERNACLE 


A , 
714—Eariy FirreentH Century SIENESE PoLtycHrRoME CARTON 
Pirck ALTO-RELIEF 

~ Life-size figure of the Virgin, dressed in a gold-brocaded red 
tunic and blue mantle, seated on a carved bench and holding 
on her left knee the Infant Christ in a linen garment, who 
reaches out His right hand for the bird held by His Mother in 
her right hand, and with His left holds a rose. In ornate tab- 
ernacle frame of wood, molded, carved, gilded and painted. It 
consists of a round-arched canopy, cusped and surmounted by 
a molded cornice, supported on brackets and spirally twisted 
pilasters. The molded base has a plinth painted with scrolled 

floral sprays. 
Height of figure, 831% inches; width, 41 inches. 

(Illustrated) 


CO ~ 
\_ 


va & Palit Pd 


7144,—Earty Firreenta Century UMBriAN STATUE 


Sole Of carved and painted wood. Subject, in heroic size, of a 


seated woman dressed in a red tunic under a white robe with 
red cuffs and trimming of gold bands and pointed shoes of red, 
green and gold. She is seated on a rectangular bench painted 
in gold, green and red, and holds in her left hand a flower. 


Height, 5 feet 10 inches. 


; 
4 
4 
f 
4 
; 


No. 714. Earty FirreentuH Century SIENESE PoLtycHROME CARTON 
Prece ALTO-RELIEF 


(Up Saunt “gare 
715—FIFTEENTH CENTURY SPANISH Ivory CRUCIFIX ( 


The straight-armed cross is of wood painted in a scrolled design _ 
of leaves and flowers, and the figure of Christ is of ivory, with 
a loin-cloth knotted around His waist. 


Height of figure, 30 inches. 


YOOT TY GNOOMG—TIV]T LVaUy AHL AO YANUOD Y :AOVIVG MVZNVAVG 


ITALIAN ARMOR OF THE XVIth CENTURY 


CAP-A-PIE AND HALF-SUITS, SWORDS, HALBERDS 
AND EARLY FIREARMS 


It was in the late sixteenth and early seventeenth centuries that 
the defensive armor which for so many centuries had made the name 
of the Milanese armorers of European reputation found its apogee. 
Professor Volpi, in the small but interesting collection he has formed, 
has therefore been well advised to confine himself to the period named 
and to refuse to be seduced into the acquisition of those florid suits 
and massive helmets which give evidence of so much misdirected crafts- 
manship. Yet even in these earlier examples there is sufficient deco- 
rative quality and marks of skilled workmanship to entitle them to a 
place on the walls of the most elaborately furnished room. 

These inlaid and engraved suits, these processional halberds and 
partizans, even these quaintly, appearing crossbows and firearms, are 
of precisely the same nature as those for which the late Sir Richard 
Wallace and Baron de Corson were wont to pay such almost fabulous 
sums. 


H.. 


ARMS AND ARMOR , 


716—SIXTEENTH CENTURY ITALIAN Loe ‘hong 


By Of lead, shaped as a fusil with a wooden stock inlaid with ivory 
eo and terminating in a plate of ivory engraved with the figure of 
a king and queen. 


SEDO = 
(Oh, | ‘\ Sener Ae V4 od 
717—SIXTEENTH CENTURY ITALIAN WINE-CARRIER 


(7 Cylindrical shape, of inlaid wood formed as a small barrel with 


/ — wrought-iron handle. 


718—SIXTEENTH CENTURY ITALIAN WATER-FLASK 
at Wooden flask for water carved in the form of a tortoise. J 


719—SIxTEENTH CENTURY ITALIAN PowbER-FE.ASK 
4 ge. Formed of a horn mounted in wrought iron. 


Chen ye ehelt®. 


720—SIXTEENTH CENTURY ITALIAN POWDER-FLASK 


Pear-shaped body of wrought iron, decorated with applied 
E Vie bronze low-relief ornamentation of a mask surrounded by small 
patternings. 


Ute eniuet Agent 
721—SIXTEENTH CENTURY ITALIAN POWDER-FLASK 


on Of wrought iron, pear-shaped and decorated in repoussé work 
v with the coat-of-arms of the Medici family. 


Lb bpuarle mn. Shut. 


722 Six TEENTH CENTURY ees POWDER-FLASK 


Cc Horn mounted in wrought iron and engraved with a decoration 
of winged cupids and fantastic animals with human heads. 


Wd - 


723—SIXTEENTH CENTURY ITALIAN SPURS 
Ss) pis Pair of ceremonial spurs of wrought iron. 
nw ow () 
724—F oURTEENTH CrentTuRY ITALIAN Bir 
as = Horse’s bit of wrought iron shaped and decorated. 


725—SIXTEENTH Century IraLian DaccEt Ji 
2y ¢_ Straight engraved blade, with grip and pommel of carved ivory. 


= 
726—SIXTEENTH CENTURY ITALIAN en (Qenret. 70-1 


Jee Broad leaf-shaped blade, with ivory handle carved in a d sign 
of a lion following a dog whose tail he has seized in his mouth. 
ia ren 
727—SIxXTEENTH CENTURY ITALIAN shih i bangarr 


Ae _Of the “granchi” (or crab) type. Straight blade with double 
/ —~ flutings under the guard. Shell-shaped guard and wire-wound 


oe : 1 a baleen 


728—SIxTEENTH CENTURY ITALIAN SWORD 


3 As Straight blade, fluted its entire length. Pierced and chased 
guard, spiral quillons and spiral wire-wound grip. 


729—S1IxTEENTH CENTURY ITALIAN DAGGER 


ali oo Left-handed dagger. Straight guard and pommel decorated 
in openwork foliage design. Spiral wire-wound grip. 


£9 gana 
730—SIXTEENTH CENTURY ITALIAN DAGGER 


Cae Long straight blade. Fluted guard, double scrolled quillons and 
plain hilt. 


731—FirrEENTH CENTURY VENETIAN wet | Cr aena, 
So io el Straight, broad “ox-tongue” blade with nine flutings throughout ¢ (- 
its length, with the upper half damascened in gold. The down- 
pointed quillons inlaid with the motto: “AUXILIUM . A . SUPER . 
AUDACES . FORTUNA.” The shaped handle of wood, with bronze 
mountings on the faces sides and flat dome-shaped pommel. 


j o/ ; iL 
732—SIXTEENTH CENTURY ITALIAN SwhtnAandg WO LAGL Lg 


,.  “Schiavona” type, with straight blade. Basket-hilt, with leather- 
/ 3S covered grip. In iron-mounted leather scabbard. 


lr f 
733—F iwrrENtH Century Irauian Larcre 'Two-HANDED SworpD 
Give Straight fluted blade, straight quillons, leather-covered grip and 
¢ pear-shaped iron pommel. 


y . 


A 


734—SIXTEENTH CENTURY ITALIAN SworD ry 


hey Hemispherical guard, with pierced ornamentation, straight 
/ 90 —wire-wound spiral grip and pear-shaped pommel. 


6. OY 

Us Canta 
7385—SIXTEENTH CENTURY ITALIAN SworD 

oa aa Straight blade, fluted under guard. Hemispherical guard, with 

(~~ pierced ornamentation, straight handle wound with iron wire 


{ \ 
and pear-shaped pommel. 


a ff 
Rtg. VY Kidrarnann 
736—SIXTEENTH CENTURY ITALIAN SworD / 
Straight blade, fluted under the guard. NHemispherical guard, 
7) t¢_ pierced and chased with a design of animals and foliage, straight 
Gs wire-wound grip and pommel decorated in low relief. 


fj 
[/ 
L/ 


. d ae Fe L 
737—SIXTEENTH CENTURY ITALIAN Sworp \’ ad 


At 


Straight blade. Hemispherical pierced and chased guard, 
ae straight quillons, straight grip wound with heavy iron wire and 
pommel decorated in low relief. 


738—SIXTEENTH CrEntTURY ITALIAN Sworp 4. & | 
) , Straight blade. Hemispherical pierced and chased guard, 
oes straight quillons, straight wire-wound handle and openwork 
pommel. 


739—SIXTEENTH CENTURY ITALIAN SWworRD . 


; Straight blade. Hemispherical pierced and chased guard, 
rw ¢— straight handle would with iron wire and pommel decorated in 
low relief. 


Gis Cree 


740—F IrtEENTH CrentTuRY ITALIAN Sworp 
Straight blade. Engraved guard, straight handle, wound with 
of oO © _ iron wire and faceted pommel. 


= AES) 
741—SIxTEENTH CENTURY ITALIAN SworpD o Mr ppt 
Straight blade. Iron guard and straight handle with faceted 
a) BY, ‘“- pommel. 


742—SIxTEENTH CENTURY ITALIAN SworD a & wh Kh 
Straight blade, fluted under the guard and engraved with the 
» , « inscription: “REsPIc. FINEM.” Straight quillons, shell guard 
is V spirally molded grip, wound with iron wire, and pear-shaped 
pommel. 


743—SIxTEENTH CENTURY ITALIAN SworD s \y 


Of the ““Schiavona” or basket-hilted type. Basket-shaped open- 
( 0 — work guard, straight quillons, handle wound with iron wire and 
pear-shaped pommel. 


4 


744—SixtrentH Century Iranian Sworp|/ 

Straight blade, fluted beneath the guard and engraved with an 

agg inscription and the date “1517.” Straight quillons and spiral 
grip wound with iron wire. 


36. E 6 AVILA 
745—SIXTEENTH CENTURY ITALIAN SworD 
Straight blade, fluted under the guard. Straight iron quillons, 


/ U7 *< wooden handle and pear-shaped iron pommel. 


746—SIXTEENTH CENTURY ITALIAN swan (hae 


Straight blade, fluted under guard. Hemispherical guard, 
straight quillons, grip wound with wire and pear-shaped pom- 


[po a) mel. 


747—SIXTEENTH CENTURY ITALIAN aon &. Cop cea 


a" Straight blade, fluted under guard and engraved with the in- 
/ ) *~ scription on both sides: FINEM RESPICE. Straight quillons, wire- 
wound handle and faceted pommel. 


Is ty 
748—SIXTEENTH CENTURY ITALIAN SworpD MN 


) ,-9e Straight blade, fluted under guard and with indecipherable in- 
45% scription on either side. Straight quillons and handle wound 
with iron wire. 


749—SIXTEENTH CENTURY ITALIAN Buse: Qa kkprt— 


‘Straight blade. Hemispherical incised guard, straight quillons, 
handle wound with iron wire and pommel formed as a pine-cone. 


& @ 


l y WY, 
750—SIXTEENTH CenTuRY ITaLian Sword Grresigry “Wer 
ee ee Straight blade, with double flutings down half its length,” Shell- fe. 


rae shaped guard, straight quillons, plain grip and faceted pommel. 


751—SIXTEENTH CentTurRY ITALIAN Fol. CANN. 
yr te Straight quadrangular blade. Iron guard, wire-covered handle, 
> sani . . . 
: and pommel decorated in relief with two coats-of-arms. 


) =f C\ VA 
752—SIXTEENTH CENTURY ITALIAN Hancrrk, 1K - Dm, LAL ——— 
>\,. Straight blade, with carved wood hilt. | 
é & ; VY et 8 Y As 
753—SIXTEENTH CENTURY ITALIAN PROCESSIONAL HLALBERD 
Head with shaped blade richly damascened in gold. Wooden 


te 13S shaft, thickly studded with small round-headed nails. 


754— SIXTEENTH CENTURY ITALIAN ProcrssionaAL HaALBERD 
Head with pierced crescent-shaped blade, pierced crow’s bill 
Tg jz_and long tapering point, with a wrought rosetted knop. Shaft 
covered in red silk studded with brass-headed nails. 


Spero Coo 


755—SIXTEENTH CENTURY ITALIAN ProcEsstonaL HALBERD 
; Head with parcel gilt and pierced crescent-shaped blade and 
qo pointed crow’s bill. Long wooden shaft covered with leather 
studded with brass-headed nails, with tassel under the head. 


756—SIXTEENTH CENTURY Swiss HALBERD 4“ « 

Head with pierced crescent-shaped blade, pierced crow’s bill 

6 5 '— and long octagonal point. Octagonal wooden shaft studded 
with brass-headed nails. 


757—Two SEVENTEENTH CENTURY SPANISH Haserps 
Heads with long leaf-shaped blades with crescent-shaped hooks, 


227 = richly engraved on one side with a coat-of-arms on the other 
with a monogram. Shafts thickly studded with brass-headed 
nails. 

(Illustrated Core 
iG ovr \WieXereg— 


758-—SixTEENTH CENTURY ITALIAN PROCESSIONAL HLLALBERD 


Head with pierced crescent-shaped blade, pierced crow’s bill 
\y «and long tapering point with a wrought rosetted knop. Shaft 
covered in red silk studded with brass-headed nails. 


(Illustrated) 


759—SIxTEENTH CENTURY ITALIAN HALBERD “! Is 


Head with pierced crescent-shaped blade, pierced crow’s bill, 
< “{— and extremely long octagonal point, showing traces of chased 
and gilded ornamentation. Octagonal wooden shaft studded 
with brass-headed nails. 
(Illustrated) 
b 
760—SIXTEENTH CENTURY ITALIAN PROCESSIONAL HALBERD 

Head with square tongue-shaped point, pierced crescent blade 
ieee and pierced carved crow’s bill. The cylindrical shaft is covered 

with red velvet spirally studded with brass-headed nails. 


(Illustrated) x 
( 
761—SIxTEENTH CENTURY ITALIAN PROCESSIONAL HALBERD 
Head with square tongue-shaped point, pierced crescent blade 
>, es and pierced carved crow’s bill. The cylindrical shaft is covered 


with red velvet spirally studded with brass-headed nails. 


(Illustrated) 
Hf Qari 


762—ParT OF A SIXTEENTH CENTURY Tes TA Orr OF ARMOK pee 
Consisting of a helmet, pauldrons, rerebraces and a breast-plate, Y§ 
en The helmet is of the “pot” type with comb, adjustable free-guard 
‘ / J — in front and “lobster-tail” neck-guard at back. The pauldrons 
are studded with brass-headed rivets, the rerebraces are jointed 
and the breast-plate is richly engraved and gilded with a scrolled 
design of a mask surrounded by scrolled foliage. 


(Illustrated) 


Nos. 757 ro 764 


763—SIXTEENTH CENTURY ITALIAN PROCESSIONAL HALBERD 


Head with pierced crescent-shaped blade and straight crow’s 
bill Cylindrical shaft covered with red velvet studded with 
brass-headed nails. 


Ce 
| 
A 


G 


(Illustrated) 


¢ # 4 W/ 4 
764—SIXTEENTH CENTURY ITALIAN STEEL BUCKLER OR SHIELD 


Circular shape, decorated with an engraved broad border of 
3/¢ scrolled foliage design around the rim, the center being occupied 
with a design of fourteen radiating compartments alternately 
plain and decorated with an engraved patterning of scrolled 
foliage. 'The central spike has a raised base of acanthus-leaf 
design. 
(Illustrated) 


765—SIXTEENTH CENTURY ITALIAN PROCESSIONAL PARTIZAN 


$47 — Shaped shaft, with incised decoration. Shaft covered in red 
velvet and studded with brass-headed nails. 


766—SIXTEENTH CENTURY ITALIAN PROCESSIONAL(PARTIZAN 


/ Got Shaped head, with pole covered in red velvet and studded with 
fees brass-headed nails. 


WK i) 
767—SIXTEENTH CrentTurRY ITaLIAN ProcrssionaAL HALBERD 
“Taghacollo” (or cut-throat) type. Head with incised decora- 
__yc _ tions on both sides, the upper part of the shaft covered in red 
/~ ~~ velvet and fringed below the head; the lower part covered in 
red silk, studded with brass-headed nails. 


a | 


A A 
768—SIXTEENTH CENTURY ITALIAN PARTIZAN 


Shaped head, with elaborate incised ornamentation. Long shaft, 
ot 2 , : 
// U “= covered in leather studded with brass nails. 


L () =P tap 
769—SIXTEENTH CENTURY ITALIAN PROCESSIONAL PARTIZAN 


Shaped head, with elaborate incised ornamentation. Long shaft, 
/t “covered in red silk and studded with brass-headed nails. 


ta ( 

770—F IFTEENTH CENTURY FLORENTINE SOLDIER'S BILL 

Crescent-shaped blade with spear-head engraved with the coat- 
me ag ; ee egies 

[S70 of-arms of the Medici family above the initials “FL.” Wooden 

shaft painted black. 
SOM VAAL: 

771—SIXTEENTH CENTURY ITALIAN PROCESSIONAL PIKE 


» Straight spear-shaped head, with long shaft covered with red 
Ld ~ velvet and studded with brass-headed nails. 


S\ 


CO y 
772—SIXTEENTH CENTURY ITALIAN PIKE Ys ON Arh 
+ © Corsesca” type, with spear-head, the-shaft covered in leather 


“hae with fringe below head and studded with brass-headed nails. 


I 
(y 


773—SIXTEENTH CENTURY ITALIAN PROCESSIONAL PIKE 
“Corsesca” type, with spear-head, the shaft covered in red silk 
yp 


4) gu 
4 Y ~~ studded with brass-headed nails. 


: tony yey W/ 
| Muro. Ve AM) for. ptr 
774—SIXTEENTH CENTURY ITALIAN PROCESSIONAL PIKE 
__,,  Corsesca” type, with spear-head, the shaft covered in red silk 
°° ~~ studded with brass-headed nails. 


vo 


775—SIXTEENTH CENTURY ITALIAN BATTLE-AXE LIVAtA_ 
Head formed as battle-axe and war-hammer. Cylindrical iron 
shaft and octagonal grip, completely covered with an incised 
ornamentation. Trace of gilding. 


776—SIXTEENTH CENTURY ITALIAN BATTLE-AXE 
Head formed as battle-axe and war-hammer, and richly damas- 
_— cened in gold with scrolls of foliage. The shaft is of wood covy- 


ered with red velvet. 3 
f / 
Tha, 0 4hr 
777 SEVENTEENTH CENTURY ITALIAN ARBALEST 


—_,« Crossbow with carved mahogany stock, steel bow and wrought- 
5 iron fittings. 


(\ ( 
778—SEVENTEENTH CENTURY ITALIAN ARBALEST 
- Crossbow “a cric” complete. Mahogany stock, carved with a 
J? —~ fantastic animal and a woman’s head above the crutch and with 
a turned finial. Steel bow and wrought-iron fittings. 


Ne 
1. A MAY fr 4 


779—SEVENTEENTH CENTURY ITALIAN ARBALEST 


~ 


Crossbow complete, carved mahogany stock with turned finial, 


~ steel bow and wrought-iron fittings. 


A 


780—SEVENTEENTH CrntruRY ITALIAN ARBALEST 


ut 


con 


af Crossbow “a eric” complete, with richly carved mahogany stock, 
4-7 ~~ steel bow and wrought-iron fittings. 


781—SIXTEENTH CENTURY ITALIAN ARQUEBUSE 


. Octagonal barrel, with incised ornamentation, wooden stock and 
4 , : : ° 
6 Phar wrought-iron trigger and mountings. 


782—EKIGHTEENTH CENTURY Pec priky Ve La oa) ya 


Arquebuse with fusil. Octagonal barrel and wooden stock elabo- 
/ &U — rately inlaid with ivory engraved with scrolled foliage, animals 


and figure-sub jects. 
Si V\ ; ranredy bor 


783—SIXTEENTH CENTURY ITALIAN ae PARTIZAN 
7 se Shaped head, with long shaft covered with red velvet and 


studded with brass-headed nails. 


784—SIXTEENTH CENTURY ITALIAN CANNON ON CaRRIAGE 


Small bronze cannon, with molded muzzle and bands, round 

/4av knob at breech and plain trunnions. There is a band of low- 
relief ornamentation above the trunnions, a relief decorated 
loop above the touch-hole, and the touch-hole is decorated with 
a coat-of-arms in relief. Mounted on a four-wheeled gun- 
carriage of wood, the trail and the tires of the wheels richly 
carved in a pattern of acanthus-leaf rosettes, and the spokes 
also carved. The tires are clamped with wrought iron and the 
other fittings are of wrought iron. 


W 
Starke tn. Ak ye 


785—SIXTEENTH CENTURY ITALIAN GUN-REST 


Ds Sg Bronze forked gun-rest. Wooden shaft with iron shoe. 
786—SIXTEENTH CENTURY ITALIAN GUN-REST “ > bs 4 
Bronze forked gun-rest, decorated with the coat-of-arms of the 
YS (S Medici family. Wooden shaft with iron shoe. 
Aa & wa (, 
787—F irrrentH Century [rattan MatTcHiock 
bh 5 Wooden stock and octagonal barrel. 
Fh, otf 
yA - ALAM A “. 
788—FirTEENTH CENTURY ITALIAN MatTcHLock J / az 


Wooden stock and octagonal barrel. 


(oo * 


r~ y ean ee’ 
yrnn- \ Oanrne -\, Epetir_ 
789—SIxTEENTH CENTURY ITALIAN Horst TRAPPINGS 
Consisting of saddle, head-stall, bridle, bit and reins. The sad- 
dle, with arcon and cantel, is finished with red silk fringe, the 
head-stall is of leather with red fringe, the studs of the bridle are 
of brass decorated in low-relief, and the reins are of silk inter- 


twined with gold threads. ; 
BEI Oi : 


790—SIXTEENTH CENTURY ITALIAN THare-surr or ARMOR ( ae 


hes 


Consisting of helmet, gorget, pauldrons, rerebraces, coudes, 
vambraces and gauntlets, breastplate, tassets, breech and rapier. 

7600 — The helmet is a burgonet with high comb and pointed umbril, 
the rerebraces are jointed, the breastplate is of the “peascod” 
type, the tassets are laminated, the gauntlets fingered, and the 
breech is cut in scrolled lappets. The suit has an engraved deco- 
ration of alternating plain and ornamented bands, the latter 
with a patterning of trophies, dolphins and scrolls, and the date 
1571 engraved in the center. The rapier has a straight blade, a 
spirally twisted open guard united to the knuckle bow, straight 
quillons, a grip wound with iron wire and a pear-shaped pommel. 
With mannequin. 


(Illustrated) 
IAL 
bAhw- 
791—SIXTEENTH CENTURY ITALIAN isi teed an or ARMOR MY, |- 


Pens 0 Consisting of a helmet, gorget, pauldrons, rerebraces, coudes, 
vambraces, gauntlets, breastplate, tassets, breech and rapier. 
The helmet is of the “pot” type and has a wide umbril, the rere- 
braces are laminated, the breastplate of the “peascod” type, the 
gauntlets are fingered, and the breech cut in long narrow lap- 
pets. The entire armor, including the helmet, is engraved with 
a diapered pattern of palmettes on a sunken and dull ground. 
The rapier blade is straight, the guard an open spiral connected 
with the knuckle bow, the grip wire-bound and the pommel ball- 
shaped. Leather scabbard. With mannequin. 


(Illustrated) 


YOWUY AO LIOS-ATIVAY NVIIVIT AUDLNAY) HLINGALXIG “T6§) “ON 


YOWUY AO LIOS-ATV AY NVITVL]T AYDLNAT) HINGALXIG “Q6), “ON 


Me (Surf (Cota 
792—SixTEENTH Century IraniAN CoMPLETE SuIT or CAP-A-PIE 
ARMOR 

re Consisting of helmet, gorget, pauldrons, rerebraces, coudes, vam- 
braces, gauntlets, breastplate, taces and tassets, breech, cuisses, 
genouilléres, jambs, sollerets and circular shield. 'The helmet is 
crested with a pierced visor and a beavor, the gorget has looped 
edge, the breastplate a looped roundel on the right side, the 
gauntlets have unjointed finger plates and the sollerets have 
square and rounded toes, while the shield is decorated with a 
sunken band around the rim and six radiating panels with a 
gilded ornamentation on a dark sunken ground. The entire 
suit is bronzed and decorated with bands of gilded ornamenta- 

tion on dark sunken ground. With mannequin complete. 


(Illustrated) 
o & Grrrute 
793—SIxTEENTH Century IraniAn Hatr-surr or ARMOR nN 
Consisting of a celatus, or helmet with visor, gorget, pauldrons, 


/ % yerebraces, coudes, vambraces and breastplate. Accompanied 


by an iron mace, a sword and a circular shield. ‘The armor 
is completely gilded with a patterning of half-moons (em- 
blem of the Strozzi family) and the iron mace has a head of 
seven double curved flanges, completely gilded, with a handle 
in two parts partially gilded and ending in a pommel 
wrought as a garland. The circular shield is bronzed and 
etched with a design of radiating compartments occupied by 
patternings of trophies, quatrefoil and foliage and surrounded 
by a deep etched border of rosetted design, and the spike 
has a base of gilded acanthus leaves. The sword is of con- 
temporary Spanish workmanship, with a hemispherical guard, 
pierced and wrought in a pattern of oval medallions, with 
profiles of Roman Emperors and scrolled foliage, straight 
quillons, a wire-wound grip with plain knuckle-bow and ornate 
ball-shaped pommel. The long straight blade, under the guard, 
is engraved with an inscription: I. V. M. R. T. I. N. E. Z. E. N. 
T. OnL: BODO; ES. P..B RAS Bre Dace 


(Illustrated) 


805 792 793 


No. 792. SrxTEENTH CENTURY ITALIAN COMPLETE Suit or Cap-A-PIE ARMOR 
No. 793. SIxTEENTH CENTURY ITALIAN HA.LrF-suir or ARMOR 


No. 805. SIxTEENTH CENTURY ITALIAN HALBERD 


794—SEVENTEENTH CENTURY IraLiaAN Naxr-surr oF ARMOR’ 
Consisting of a burgonet helmet with comb and Bee 
nasal guard, gorget, pauldrons, rerebraces, coudes, breastplate 
and taces accompanied by an iron mace. ‘The armor is plain 
and slightly gilded; the head of the mace is formed of seven 
scrolled flanges with projecting centers, and a spirally grooved 
handle ending in a fluted pommel. 


w \ 
795—FivtreENtH CrentTurY ITALIAN JOUSTING SPEAR 

Tournament or jousting spear, with pointed leaf-shaped head 
ae having wrought-iron cross guard. The wooden shaft is formed 
with a swelling vamplate, recessed hand-hold and tapering butt. 
It has a tempera-painted decoration of alternating black and 
white spirals and the coats-of-arms of the city of Siena and 

of three Sienese families. Under the head is a silken tassel. 


796—F irtEENTH Century Irauian Iron HUBERK ( ( 
‘ Loose-fitting sleeveless body garment of light chain-mail. 


7 oes 
797—F irreeENtH CENTURY ITALIAN IRoN HAUBERK 
/n Gv Loose-fitting sleeveless body garment of light chain-mail. 
/ ae a Y ~ kh (A / 
798—FirreEENTH CENTURY ITALIAN IRoN HAUBERK | / 
gS¢ ¢ Loose-fitting sleeveless body garment of light chain-mail. 
ou é ae eer y 
799—FIFTEENTH CENTURY ITALIAN IRON Fraaent O27 Aiheh— 


oo Loose-fitting sleeveless body garment of light chain-mail. . 


{ f : ) VA 
800—SIXTEENTH CENTURY ITALIAN Lean 9. 3 Cw 1h 


Lj * Cuirass or breastplate of wrought iron. 


801— FIFTEENTH CENTURY ITALIAN Heres 
«| Engraved on the upper part in a design of trophies, masks and 
foliage. Below are rosettes, with brass studs as centers. 
a x- vtehs ee | 
802—T'ivrrEENTH CENTURY ARABIAN [RON Mabe 


e¢_ Burgonet of wrought iron. % 
a V 


803—SIXTEENTH CENTURY ITALIAN 6. G eget 


Spiked helmet in iron elaborately chased and gilt in a pattern 
= of Oriental interlacements. In front is a panache, or plume- 
holder, and, behind, a chain-mail shoulder guard. ee 
Pee 0: J 
Prr0- (Srrtee - VO 
804— SIXTEENTH CrEnTURY ITALIAN LANTERN 
Cylindrically shaped hand lantern for use in camp. ‘Tale sides 
-—“2— mounted in pierced and chased bronze with wrought-iron carry- 
ing handle. 
y, 
V- 6 A Fe Fe — 


805—SIXTEENTH’ CentTUuRY ITALIAN HALBERD ( 


Head with pierced crescent-shaped blade, straight pierced crow’s 
ay ‘— bill and long pomt, knop with two warriors’ heads in relief, all 
completely gilded. Long wooden shaft, covered with leather 
studded with brass-headed nails and with large tassel under the 
head. 

(Illustrated) 


GQOWIVd WVZNVAVG( FHL WOU 
SLOUfdQ YALQ AGNV HLOTOUTaV 7, NGANIT ‘NOUT aIQ *‘SSVT4) ONVUD]A 


VENETIAN GLASS FROM THE MANUFACTORIES 
OF MURANO 


Although the glassworkers of Murano have flourished for some 
seven hundred years, it was not until the sixteenth century that the 
Venetian cristallo revolutionized the art of glassmaking throughout 
Europe. It is significant, however, that the most characteristic of 
these earlier worke of the Murano blowers, diaphanous to the point of 
fragility, were yet comparatively simple in their forms and relied 
rather on the exquisite pellucidity of the uncolored glass than on the 
rainbow-like hues which we are wont to associate with their produc- 
tions. In the contemporary paintings, in the altarpieces of Bellini and 
Carpaccio, even in one of the Titians in the Louvre, the graceful tall- 
necked and globular-bodied decanters, the drinking glasses and the 
ewers are delightfully simple in their outlines. 

It is to the Muranesque glass of this period and of this artistic 
character that the collection here catalogued belongs. 


Hak 


SIXTH AFTERNOON’S SALE 
MONDAY, NOVEMBER 27, 1916 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 806 to 979, inclusive 
i, 
Cr: Gy 


806—SIXTEENTH CENTURY VENETIAN WINE GLASS 


, with 


ne Murano blown clear white glass. Coupe-shaped bow 
downward tapering stem and circular foot. 


K 


Height, 5% inches. 


I 
807—SIXTEENTH CENTURY VENETIAN GLAss GOBLET 
=—— Murano blown ismalto or schmelz glass. Straight-sided cylin- 

drical bowl, baluster-shaped stem and circular foot. Variegated 


to imitate agate, with greens and browns predominating. 


I I 


Height, 5 inches. 


his VY. ee / P 
<O-C AK _ 
808—EIGHTEENTH CENTURY VENETIAN GLASS VASE 


Murano blown white glass. Cylindrical shape, with bulbdts 
—rim and foot. Clear glass, decorated with vertical filaments of 

lattimo glass. 
Height, 5 inches. 


Thy Neer 
809—Two SIxTEENTH CENTURY VENETIAN FLOWER YASES 
Murano blown clear white glass. Globular bodies and fluted 
eae ¢— eylindrical necks with spreading rims. 
Height, 6 inches. 


829-_ SixTEENTH CENTURY VENETIAN GLASS (DAZZA 


Murano blown white glass. Circular flat disks, with slightly 
upturned rim, supported on a double baluster-shaped and 


spirally twisted stem and a circular foot. 
Height, 7 inches. 


823—SEVENTEENTH CENTURY VENETIAN E, ASS Or mien 


Murano blown greenish glass. Pear-shaped flattened body, 
with conical neck, surrounded by a band of quilled glass, and 
prunted foot. Decorated on one side with a painting, partly 
obliterated, of the full-length figure of a bishop. 


Height, 81% inches. 


' 894 —T wo SrxTeentH CENTURY VENETIAN WINE GLASSES 


Murano blown white glass. Bell-shaped bowls, with tapering 
stems and circular feet. 


370 


Th? - ( Tt hid 


825—SEVENTEENTH CENTURY VENETIAN GLASS GOBLET 


Murano blown white glass. Conical bow], with diapered knop 


<< __ and spreading circular foot. 


Height, 104% inches. 


826—SEVENTEENTH CENTURY VENETIAN GLass FLASK wITH 
HANDLES 
Murano blown white glass. Globular body, with cylindrical 
“neck and two round-looped handles. The body is decorated 
with vertical double ribbings of quilled white glass, the segments 
between being wheel-engraved in floral patternings. 


Height, 91% inches. 


827—SrxTrentH CEentury VENETIAN Grass Gosuer 


Murano blown white and blue glass. Cylindrical-shaped bow] 

— of white glass with projecting base, stem with gadrooned knop 
and fluted circular foot of blue glass. 

Height, 91% inches. 


829 828 830 


828—SIXTEENTH CENTURY VENETIAN GLASS BEAKER 


Murano blown white glass enameled in colors. Bell-shaped 
bowl, with projecting rim at base, cylindrical stem and circular 
foot. One side of the bowl is decorated with a shield of the arms 
of the Medici family surmounted by the crossed keys and Papal 
tiara. On the other side is a patterning of voluted scrolls, all 
enameled in red, yellow, blue and white. Around the rim is a 
broad band patterned with blue and white dots, while the pro- 
jecting base of the bowl and the rim of the foot are gilded. 


Height, 7 ches. 


Note: This beaker and the fruit-dish which follows bear the arms of 
Giovanni de’ Medici (1475-1521) who was Pope Leo X. They were 
made expressly for him at Murano about the year 1515. 


VRV Yona 


Murano blown white glass, enameled in colors. Circular bowl, 


B| be 
829—SIXTEENTH CENTURY VENETIAN FRuItT DISH 


. ° . .) ° . 
/ 9 50 with molded rim and spiral gadroonings, on a cylindrical stem 


with circular foot. The center is decorated with a shield of the 
coat-of-arms of the Medici family surmounted by the crossed 
keys and Papal tiara, enameled in red, yellow, blue and white; 
the rim with a band of imbricated pattern in gold and a border 
of white and gold dots. (Repaired and portion missing. ) 


tameter, 8 inches. 
THA: C 
830—SIXTEENTH CENTURY VENETIAN GLaAss FRUIT DiIsH 
Murano blown white glass. Circular shape, with molded rim 
s~ and boss center. Decorated in colored enamels as to the center 
with the coat-of-arms of the Pucci family (a Negro’s head), 
surmounted by a Cardinal’s hat and surrounded by a laurel 
wreath in gold; as to the rim with a dotted pattern in blue, green 
and gold. ( Faulty.) — 


Height, 2 inches; diameter, 9 inches. 


1a ae Vale ar Pe 
N ue Dai AX ae 
831— FIFTEENTH CENTURY VENETIAN GLASS VASE ie 


Murano blown clear white and blue glass. Coupe-shaped bowl, 

_,, ge with spiral gadroonings, trumpet-shaped stem and circular foot. 

‘TY ~~ Decorated with two bands of blue around the rim and a blue rim 

to the foot. 
Height, 5% wmches; diameter, 81% inches. 
832—SIXTEENTH CENTURY VENETIAN eo ah EWER 

Murano blown clear white glass. Pear-shaped body, with 

—+ cylindrical foot and neck, the latter ending in a ball-shaped false 
stopper, a looped handle and a carved spout. 

Height, 814 inches. 


A 


re 
833—SIXTEENTH CENTURY VENETIAN Guass Fruit DIsH 


Murano blown white glass. Tazza-shaped, with’ circular flat U 
bowl, cylindrical stem and spreading circular foot. Decorated 

+h ‘“-around the center with a border of chain patterning in amethys- 
tine blue glass. 


“9 
~ Ss 
ws 


Height, 3 inches; diameter, 91% inches. 
YY) Af) l 
VAa-lr, SHarrhy 
834—SIXTEENTH CENTURY VENETIAN GLaSss 'TWIN-FLASK gAA_ 
Murano blown white glass. 'Twin-flasks, with globular bodies 
gee. and cylindrical necks transversely crossed on a baluster-shaped 
=~ ~~ stem and circular foot. The necks of the flasks and the stem are 


reeded. 
Height, 10 inches. 


835—SIXTEENTH CENTURY VENETIAN GLAss. FLASK WITH 


TES. y Ss 
FLANDLES OA AA. rwaAnlrs Sg ere SR ge 

*7.-/ Murano blown white and blue glass. Globular-shaped body, ; 

‘et with two flat looped handles and stopper. ‘The body is decorated 


with vertical ribbings of quilled blue glass, there is a band of 
quilled blue glass around the neck and the stopper has a ball 
finial surrounded by a quilled filament of blue glass. 


Height, 10% inches. 


836 


836—SixTEENTH CENTURY VENETIAN Gtass FLask 
Murano blown flaked glass of delicate rose-color. Globular 
= S ~ body, with long cylindrical neck with spreading rim and molded 
band. 
Height, 101% inches. 


MI \ 
837—SIXTEENTH CENTURY VENETIAN Guass Fruit Disx 
Murano blown white glass. Circular shape, with molded rim 
(2 and boss center. Decorated as to the center with a coat-of-arms 

surmounted by a Bishop’s hat in colored enamels, as to the rim 
with a patterning of red enamel and gold dots. 


Height, 21% inches; diameter, 1014 inches. 


tN cy \ 
838—SIXTEENTH CENTURY VENETIAN GLass FLASK 

, Murano blown amber color glass. Globular body, decorated 

Y 4 “<— with segmental gadroonings; tall cylindrical neck encircled with 


z a band of quilled amber-colored glass and flat rim. 


Height, 1184 inches. 


8389—Two SixreentH Century Iran + ee eae CANDLE- 
STICKS @ 
Vase pinnacle-shaped, and eee Bie RS ey sta 
ay 7 7 is — with acanthus-leaf chased mounts of gilded br onze; dome-shaped 
bases of cut crystal with deep acanthus-leaf chased rims.  Cir- 
cular crystal bobéches, rimmed with gilded bronze and with iron 
prickets. 
Height, 101% inches. 
, LA 4 
840—SEVENTEENTH CrnTURY VENETIAN GLass Puzzite Ewer 
Murano blown olive green glass. Tapering cylindrical body, 
y+ with cylindrical neck, false stopper, curved spout and circular 
foot formed of a quilled thread of glass. The neck is closed and 
has a ball-shaped finial. 


© UY 


Hagin, 11 eetae 
s Meet C 


/) 


841—SEVENTEENTH CENTURY VENETIAN GLASS DrcaNTER 


Vv 


Murano blown greenish white glass. Pear-shapéd body, with 

rays of quilled glass around the lower part; spherical glass stop- 

at per with ball finial. Knopped stem and circular foot. Clear 
glass powdered with gold flakes. 

Height, 1 pee: inches. 


“us 
842—SEVENTEENTH CENTURY VENETIAN GLAS SA 


Murano blown clear white glass. Cylindrical-shaped bowl, 
_,.  ¢ylindrical oil receiver with ball finial, horizontally projecting 
+f “4 — wick-holder, fluted baluster-shaped stem and circular spreading 
foot. 
M Height, 1134 inches. y 
843—SIXTEENTH CENTURY VENETIAN GLass VASE 
Murano blown clear white glass. Circular ring-shaped body, 
2, ¢¢ with disk center; cylindrical neck and annular rim, trumpet- 
a: shaped stem, and circular foot. 
Height, 124/, inches. 


845 844 


Murano blown clear white glass. Flattened spherical body, / 
3 ee with conical neck, baluster stem and circular foot. Decorated 
around the neck with a band of quilled clear white glass. 


844—SrIxTEENTH CENTURY VENETIAN GIAss VASE 


Height, 11 inches. 


Tr. 
845—SEVENTEETH CENTURY VENETIAN GLASS ug 


Murano blown green glass. Globular body, with tall cylindrical 
AL ( ‘neck, floriated glass stopper and spreading circular foot. 


Height, 12% inches. 


Ye: - dle 


846—SIXTEENTH CENTURY VENETIAN GLass Bown : 
Murano blown clear white glass. Coupe-shaped, with outcurved 
rim. 

Height, 6 inches; diameter, 1414 inches. 


CCundert Onent 


847—SIXTEENTH CENTURY VENETIAN ees Bown 
Murano blown white and blue glass. Coupe-shaped bowl, te 
a ‘ straight sides and decorated with spiral gadroonings, molded 
/ 7 J — rim, trumpet-shaped stem and circular foot. Around the rim, 
at junction of bowl and stem, and around the foot are filaments 


of blue glass. 
Height, 61, inches; diameter, 12 inches. 


THN. 
848—FirrEENTH CENTURY VENETIAN GLass BEAKE 
Murano blown white glass. Conical fluted bow] with cylindrical 


Jo = ‘* stem, gadroon knop and spreading circular foot. 
a/ Height, 10 inches. 


Mareccra fisted aratninal A LY 


849—SIXTEENTH CENTURY VENETIAN GLAss GOBLET/ 
Murano blown bluish glass. Conical bowl, decorated with ver- 
270 ‘—— tical ribbings blown in the glass. Spherical knop, decorated, in 
relief, with a lozenge pattern and showing traces of gilding, and 


spreading fluted circular foot. 
Height, 1234 inches. 


TW: 


850—SEVENTEENTH CENTURY VENETIAN/GLAss Om, Lamp 
Murano blown clear white glass. Cylindrical-shaped bowl, 


eee cylindrical oil receiver with ball finial, horizontally projecting 
me wick-holder, fluted baluster-shaped stem and circular spreading 
foot. 


Height, 1134 inches. 


| / 
851—SIXTEENTH CENTURY VENETIAN GLASS ae 
Murano blown clear white glass. Flattened sphérical body, with 
/ Hes conical neck, baluster stems and circular foot. Decorated 


around the neck with a band of quilled clear white glass. 
} 
UL bgp 


Murano blown clear white glass. Circular shape, with flat rim 
_,. and prunted center. 
30 as Diameter, 174 inches. 


852—SIXTEENTH CENTURY VENETIAN GLASS DISH 


k u \ 
853—SIXTEENTH CENTURY VENETIAN Guass DisH 
Murano blown clear white glass. Circular shape, with flat rim 
) ye and prunted center. 
0 ee Diameter, 1734 inches. 


Thr See 


854— SIXTEENTH CENTURY VENETIAN Guass DIsH 


Murano blown clear white glass. Circular shape, with prunted 
me center and flat rim. 
fo gam pnd nee Diameter, 19 inches. 


wanhpbel eae iL 


855—SIXTEENTH CENTURY VENETIAN Casta Drrrp Disu 


Murano blown clear white glass. Circulat shape, with wide flat / 
y oc vim. Decorated as to both rim and interior with a reticelli 
patterning of spirally interlacing filaments of lattimo glass. 


Diameter, 211% inches. 


FS 756 he ntes Meese 


v 


WROUGHT-IRON WORK, COPPER, BRONZE AND BRASS OF 
THE XVIth CENTURY 


The wrought-iron, copper and bronze household utensils of six- 
teenth century Italy, as shown in the furnishings of the Davanzati 
Palace, must be something of a revelation to lovers of decorative art. 
At long intervals, perhaps, they have happened upon and hesitated 
not an instant in acquiring, some of this smith’s work, wrought with 
so unerring a sense of the value of the graceful curve, of these vessels 
of beaten copper sometimes inlaid with a more precious metal, or of 
the pitchers, and bowls or candlesticks, not of brass, but of golden-hued 
bronze. It needs, however, a gathering such as this to bring the con- 
viction that it was not the exceptional, but the ordinary, every-day 
utensil which received so artistic a treatment. 

It is apparent that even the simple cooking utensils of Cinque- 
cento Italy were so fashioned that even the most insignificant will 
to-day add a strikingly decorative note to the modern room. 


igh 


DAVANZATI PALACE BUENA: 


= 


859—F irtrentH Crentury Iranian Brass SEAL / 
9 Almond-shaped, sunk with a device of a bird. Surmounted by a 
ina cross and stars. 
Length, 1°84 inches; width, 114 inches. 
/ 
860—FIFTEENTH CENTURY FLORENTINE Bronze SEAL 


i) go 


/ / ‘= Circular form, with the arms of the Weavers’ Guild of Florence. 


Diameter, 1% inches. 
{\ \ 
861—F oURTEENTH CENTURY FLORENTINE Bronze MEDAL 


FT - Y LGe 


862—SIXTEENTH CEenTURY FLORENTINE Bronze MEDAL 
Obverse, the head of Agnolo Alberti. 


— 46 Diameter, 28% inches. 
/: 


iS ,< AAlmond-shaped. 


wa 


mn 
863—FrrrrentoH Century FLorENtINE Bronze Mena, BY Brr- 
TOLDO 
py ee’ Struck to commemorate the assassination of Lorenzo de’ Medici, 
which took place, as the result of the Pazzi conspiracy, in the 
Florentine Church of Santa Maria del Fiore in the year 1478. 
The medal represents the scene of the tragedy and the portraits 
of Giuliano and Lorenzo de’ Medici. 
Diameter, 25% inches. 
(\ ty 

864—F irreentH Century Fiorentinet Bronze SErat. 
ree Almond shape, with cylindrical handle, intaghio-sunk with the 
~ ~ — arms of the Monastery of St. Cosimo and St. Damiano. 


Length, 3 inches; diameter, 158 inches. 


Ny N 
865—SIXTEENTH CrentTurY Florentine Leap MEpan 
3 7 s@ = Medal struck in honor of Fra Girolamo Savonarola. Obverse, 
/ a head of the preacher. Reverse, a hand holding a dagger, an 
eagle and a bolt of lightning (in reference to his prophecies). 


Diameter, 31% inches. 


(EZ, vite esres 
866—SIxTEENTH CENTURY ITALIAN Bronze Weicutr HOLDER 
e Cylindrical receptacle in bronze for weights of a balance-scale, 
ee ¢ — with pierced bronze hasp. 
Height, 31% inches; diameter, 4% inches. 
Vm y : Poe tie 
\ | ag) 
867—SIXTEENTH CENTURY FLORENTINE LANTERN nea tre 
Octagonal shape, with gadrooned domed top, wrought and 
chased loop handle of dragon form, and molded base with 


/ ‘eo : 
‘oe chased decorations. 
Height, 434 inches; width, 514 wmeches. 
ra) fff Py 
Gro Jes Lr 
868—Two SrxTreentuH Century Iranian Bronze CANDLESTICKS 


Shafts of turned baluster design; cup-shaped bobéches. 
: Height, 61/4, mches. 
{) 


ail (¢ 


b¢ 
SV) LY 
MM BLrerY KX 


869—SIxTEENTH CENTURY ITALIAN BRONZE Mortar | 
Cylindrical shape, with slightly incurved sides. ‘The exterior 
decorated in low relief with winged cupids and two coats-of- 


< 3 ¢ arms of the Visconti family of Milan. 
Height, 61% inches; diameter, AT inches. 


CS a4 : 
+, re ee Warthy 


870—SEVENTEENTH CrentTUuRY IraLIAN Bronze Por 
— _,. Circular shape, with two looped handles, and a repoussé decora- 
f=. tion. 
Height, 634 inches. 


i 


871—F irreentH Century VENETIAN Bronze PrstLE AND Mortar 
7 Cylindrical mortar with sloping sides, and pestle to correspond. 
7 42 . . . . 
a / 0 ~ Decorated in low relief with a pattern of scrolled foliage. 
Height, 514 inches; diameter, 61/4, inches. 


f{ (| 
872—SixteentH Century [raniAN Bronze Brazier 
Circular shape; with repoussé decoration. 'T'wo looped handles 


s°’ 


/ 4 > and three feet. 
Height, 614 inches; diameter, 10 inches. 


CO) Ht Lhe 


873—SEVENTEENTH CrEntTURY ITALIAN Bronze KETTLE 


»« Small round kettle or pan on three feet. 
V Height, 8°4 wmches. 


h b 


874—FouRTEENTH CENTURY ITALIAN Bronze Por 


Ch, 


Circular shape, with two looped handles. Exterior decorated, 
Pe | ‘— in low relief, with a coat-of-arms surrounded by an inscription. 
Height, 854 inches. 
I i) 
875—Two SIXTEENTH CENTURY ITALIAN Bronze Pors 
A wo) «Circular shape with two handles. 
2 Height, 117% inches. 
Y h 
876—SIXTEENTH CENTURY ITALIAN Brass Basin 
Circular shape, with repoussé decoration 
9 Zi Height, 13 inches; diameter, 51% inches. 


h h 
877—SIXTEENTH CENTURY ITALIAN Ewer AND BowtL 


/ os Ewer with pear-shaped body; circular bowl. 
One 


Height of ewer, 9 inches. 
Diameter of bowl, 15°4 inches. 
Th Sk 
878—Two SrxreentH Century Iranian Bronze CANDLESTICKS 
,  Lurned baluster-shaped shafts, cup shaped bobéches and circular 
/o( — molded feet. 
Height, 111% inches. 
Lo 
879—Pair OF SIXTEENTH CENTURY oO Gaeta 
STICKS 
y 24 ‘— Baluster-shaped shafts, with acanthus-leaf decorations in relief, 
on tripod bases with three voluted feet, and elaborately decorated 
in relief. 
Height, 1334 inches. 
mu Sell 
C = 
880—Two SIxTEENTH CENTURY VENETIAN Bronzk CANDLESTICKS 
yy Shafts and bases chased in an elaborate design. 


GS 
Height, 81/4, inches. 


t 


(C 4) fie pete 
les kKincant[g 
881—FIrreeENtH CENTURY FRENCH BRONZE CANDELABRUM 


Molded quatrefoil-shaped base, with square molded pillar shaft 
,. from which spring two carved arms supporting the figures of a 
aoe youth and maiden in fifteenth century costumes holding large 
cylindrical candle sockets. 
Height, 10%, inches. 
From the collection of the poet Gabriele d’ Annunzio. ees 
y 
882—SIxXTEENTH CENTURY ITALIAN Bronze BEN iti 
Shell-shaped holy-water receptacle. Above, a panel decorated 
in low relief with a Crucifixion, with the Virgin weeping at the 
foot of the cross. 
77/2 inches by 11 inches. 


en 


883—SIXTEENTH CENTURY ITALIAN BRONZE pha 


: Of bronze, with shell-shaped holy-water font surmounted by a 

5 “—  pas-relief of the Madonna supporting in her arm the Infant 
Christ. 

Height, 71 inches; width, 33 inches. 


4 


884—SIXTEENTH CENTURY ITALIAN Bronze INKSTAND 


oe Oh 0 ama 


Circular form, supported on a tripod formed by three winged 
angel caryatides terminating in lions’ paws. The cover, with 
molded rim, is decorated with three festoons of fruits and leaves 
separated by three angels’ heads. The handle in the center of 
the cover is formed as a rampant lion supported on an oval 
scrolled and rocailled cartouche containing the arms of the 
Medici family. 

Height, 8% inches by 7 inches. 


$ 


885—SIxTEENTH CENTURY ITALIAN Bronze BELL 


Bell with handle. The exterior is richly decorated, in low relief, 
with festoons, human figures and foliage and with two coats-of- 
arms of the Medici family. The handle is formed as a dancing 
boy. 

Height, 814 inches. 


dd 


| ’ 


a cae Oe Af: 
\ AK ann 
886—SIXTEENTH CENTURY VENETIAN BronZE INKSTAND 

Circular bowl-shaped form, with molded rim, supported on a 
yc tripod formed as three standing eagles with outstretched wings. 


Height, 4 inches; width, 71% inches. 
TV K c 

887—SIxTEENTH CENTURY BRONZE BENITIER BY J ACOPO SANSOVINO 
Semicircular shell-shaped holy-water font, in bronze, having a 
coat-of-arms in the center flanked by angels’ heads in relief. 
Above is a figure in bas-relief of the Madonna holding the Infant 
Christ in her lap. The whole is mounted on a rectangular panel 
of wood inlaid in a geometrical patterning. 


814, inches by 434 inches. 

War (3 Pr ba 

888—FourtTEENTH CrntTURY ITALIAN ENAMELED AND GILDED 
Bronze RELIQUARY | 

Octagonal relic holder of cut rock-crystal surmounted by a 

pinnacle cover in gilded bronze. On a curved stem, with knop 

and hexagonal mclded base enriched with six medallions 

enameled with a Crucifix, heads of saints and the coat-of-arms 

of the Della Bella family. An inscription in Gothic characters 


around the base gives the date as 1333. 
Height, 111% inches. 


889—SIXTEENTH CENTURY ITALIAN PITCHER 
»»  Pear-shaped body, with looped handle. Repoussé decoration in 
tod eae design of fish and fleurs-de-lis. 
Height, 13 inches. 
Yn- SOM 
890—T wo SEVENTEENTH CENTURY ITALIAN BronzE CANDLESTICKS 
Fluted vase and baluster-shaped shafts, with cup-shaped bobé- — 
ches. Spreading bases, repoussé with gadroons and circular 
6 ( ¢ — molded feet. 
Height, 161% inches; diameter, 1014 inches. 


(Illustrated) ‘ 


v \ SIGS ; 
891—SIxTEENTH CENTURY ITALIAN Brass DEEP DisH 


Circular shape, with flat rim with a border of stamped trefoils. 
7 ji The center has an outer border of repoussé spiral flutings and 
a raised boss decorated with fluted spiral gadroons and sur- 
rounded by a chased border of rosetted pattern. In the center 
of the boss is a circular medallion inlaid, in silver, with a coat-of- 

arms. 
Diameter, 1934 inches. 


ie Vy. hg 


892—FirTEENTH CENTURY ITALIAN BRONZE BASIN 


(Illustrated) 


i 2 et Circular shape, with chased decoration. 


—_ 


Height, 8 inches; diameter, 1734 inches. 


1X 1" 
8983—SIXTEENTH CENTURY ITALIAN Brass Deer DIsH 


Circular shape, with flat rim stamped with a border of dotted 
2 _roundels. ‘The interior has a raised boss repoussé in spirally 
=~ 9-0 —fluted gadroons surrounded by a chased border of an inscription 
in Gothic lettering. The center of the boss is sunk and inlaid 
in silver with two shaped shields bearing the coats-of-arms of 

the Medici and Rucellai families. 
Diameter, 181% inches. 


HSI] daaql SSVUG NVIIVL] AUALINAD HINAALXIS “168 “ON 


SHOMLSATGNV) AZNOUG NVIIVL]T AUALNAD HINAAINAATS OMT, “068 “ON 


168 068 


OT Lh ave 
894— FIFTEENTH CENTURY VENETIAN Brass Lamp 

aoe Oil lamp, with cylindrical standard with looped carrying handle. 
is 2 U ~~ Pear-shaped oil receptacle, supported by modeled figure of 
Atlas holding the world, and six curved molded wick-holders. 

Circular foot. 
Height, 22%, inches. 

(Illustrated) 


895—SEVENTEENTH CENTURY ITALIAN Brass LAMP ie 


Cylindrical standard, with scrolled looped carrying handle and 
s _ es circular gadrooned foot. Gadrooned adjustable oil receptacle, 
Sao with carved and molded wick-holders and circular guard below. 


Height, 3114 iches. 
(Illustrated) 


rr. ba 
896—SIXTEENTH CENTURY ITALIAN Brass Drrp/ Disa 

Circular shape, with flat rim having a stamped border around 
ae Ree: the edge of dotted quatrefoils. ‘The interior has an outer border 
QJ ‘= of spiral flutings with a raised boss repoussé in spirally fluted 
gadroons surrounded by a chased border of rosettes. The center 
of the boss is sunk and inlaid in silver with a coat-of-arms and 
the inscription: “Bartolomeo di Francesco. Sotto fanti G. 

Novbe Dicenb 1518.” 
Diameter, 22% inches. 

(Illustrated) 


. 4 r i 
TVin ee wens 
897—SIXTEENTH CENTURY VENETIAN BroNZE PITCHER 


Pear-shaped body, with projecting spout and looped handle. 
.. Partly gilded. 
(rg Height, 20% inches. 


HSI] daaql SSVUG NVIIVIT AYALNAD HINATLXIS “968 “ON 


INV] ssvuq NVIIVLT AWOLINGA) HINGAGLNAADS “G68 “ON 


dNV'T SSVUq NVILANG A AUOILINGA’) HINGAALATY ‘F68 “ON 


hs tO 
898—SIXTEENTH CENTURY FLORENTINE Bronze FOouNTAIN 
_ Pear-shaped body, with cylindrical neck and stem and molded 
3 To foot. Fixed bale handle of scrolled leaves and winged mask 
terminations modeled in relief. Curved projecting spout ter- 
minating in a gryphon’s head with grotesque mask at its foot, 
and projecting cylindrical tap. 
Height, 21 3/5 inches. 
2 vy 
899—SIXTEENTH CENTURY ITaLIAN Bronze Cuarine DisH 
| Octagonal shape, supported at the angles by turned columns 
(6 0 “of bronze and fitted with removable dish. 


Height, 133¢ inches; diameter, 16% inches. 


UV Rh are 


900—SIxTEENTH Century Iranian Copper BraZir 
Circular platter-shaped, with two looped handles. Exterior 
a g ‘{ with repousse decoration of animals and foliage. 


Height, 434 inches; diameter, 2358 inches. 


yu if) Nf 
Chica tat 


901—SIXTEENTH CENTURY ITALIAN CopPrER BRAZIER 


Circular shape, with turned over molded rim, two looped handles 

__and three boldly modeled lions’ paw feet. ‘The upper part of the 

Lp 7 U — body is enriched with a band of decoration, in low relief, of 
scrollings of leaves and fruits containing figures of dogs hunting 

deer and of birds. The under part of the body is repoussé with 


gadroons. 
Height, 9 inches; diameter, 22% inches. 


VVite- “0 = VA is 


Circular shape, with two handles and on three feet. Exterior 
LA SU ‘— decorated with a repoussé ornamentation. 


Height, 18 inches; diameter, 16%4 inches. 


“Va af 
\ ALR oe ( 


903—SIXTEENTH CENTURY I[raLIAN Bronze Bow. 


Circular shape, with chiseled decoration. 
hal Diameter, 281% inches. 


([ ey, as 
Vin 
Z 
Vit: “erg 
904—F rrreeNtTH CENTURY VENETIAN SAND-HOLDER 
Cylindrical shape, with pierced cover for sprinkling purposes; 
0 2% the sides richly decorated in low relief. 


Height, 221% inches; diameter, 27% inches. 


TW Vitis 
V2 Tl YALL MIME 
905—SEVENTEENTH CENTURY ITALIAN Bronze EXTINGUISHER 


Candle extinguisher of pinnacle shape, with repoussé decoration. 


47 ‘=— On long wooden shaft. 
Length, 658 inches. 


WROUGHT IRON UY vd vara 


906—SIXTEENTH CENTURY ITALIAN Wonder -IRON (CHANDELIER 


Chandelier for twelve lights. The center of a orate vase- 
shape, and formed of wrought-iron pointed leaves with a tulip- 
shaped pendant of wrought-iron leaves and a similar finial. From 
orgy oS the center spring wrought-iron flowers and leaves and twelve 
doubly carved arms of wrought iron sheathed in curving pointed- 
leaf forms of wrought iron. The arms support the twelve 
candle-sockets with wrought-iron circular bobéches. The whole 
is suspended to a hook which forms the terminations of an iron 
ceiling rod enveloped in wrought-iron scrolls of leaf form. 

Partially gilded. 
Height, 311% inches; diameter, 39% inches. 


gees 
907—FouRTEENTH CENTURY FLORENTINE Ton ald "en 


Standard of wrought iron, standing on a tripod of three scrolled 
ra fect 


ge 
oF / Ne Height, 59 gaies* 


Thun ~ SGM pr 
908—Two FourTEENTH CENTURY FLORENTINE Canons OLDERS 


Of wrought iron. Formed of standards of spirally twisted 

wrought-iron rods on triped feet of three square iron bars. ‘The 

lagi eeu standards terminate in iron candle-sockets and have two rings of 

° unequal sizes of iron plate with the lower edges scalloped, each 
supported by four waved iron brackets. 

Height, 7114 inches. 


No. 906. SIxTEENTH CENTURY ITALIAN WroUGHT-IRON CHANDELIER 


909—FourTEENTH CENTURY ITALIAN IRoN CANDLE STAND 


Of wrought iron, consisting of a square standard with knop, 
,. ona tripod of three horizontal square bar feet. By iron brackets 
/ 2) () — this standard supports the candle holder of two iron rings of 
unequal sizes, connected by square iron bars from which spring 
wrought-iron leaves, so as to form a pyramid. On the rings and 
bars are candle sockets and the end of the central standard forms 
a pricket. 
Height, 681 wmches. 


pty Gee 


910—FourTEENTH CENTURY ITALIAN IRON CANDLE STAND 


Of wrought iron, consisting of a square standard with knop, 
es (eG ‘on four horizontal square bar feet. By iron brackets this 
standard supports the candle holder of two iron rings of unequal 
sizes, connected by square iron bars from which spring wrought- 
iron leaves, so as to form a pyramid. On the rings and bars are 
candle sockets and the end of the central standard forms a 
pricket. 
Height, 6414 inches. 
(Illustrated) 


911—FourTEENTH CENTURY FLORENTINE [ron 'TorcH HoLpEr 


: Standard of wrought iron, standing on a tripod of three scrolled 
( ree < feet. 
Height, 6214 inches. 
Ll: hark 
912— EIGHTEENTH CENTURY ITALIAN LANTERN 
Of wrought iron, with glass panel and looped handle wound 
with leather. 
LE 6) a Height, 6934. inches; width, 291 inches. 
Jos VV Loar 
913—Two FourreeNtH Century Iranian Iron CANDLE STANDS 
Of wrought iron, consisting of central standards of bar iron on 
Sif 0 g¢ a tripod of three feet, with iron-ring candle holders. 


Height, 461 inches. 


SY hh ena re ee 


i sg 


910 


909 


No. 909. FourtreentH Century Iranian Iron Canpie Sranp 


No. 910. FourteentH Century Iranian Iron CanpdLE STAND 


914—FouRTEENTH CENTURY ITALIAN FIRE-GUARD 


| 92Ff Rectangular shape. Formed of two side standards of square 
| iron bars decorated with wrought-iron lily leaves and pistils, and 
|} 937 nen pps th eee 
Out erminating in basket cages of strap iron hung with spirally 
____ twisted iron rings on which to hang the cooking implements. 
| 752 'The standards are connected above and below with two bands 
| 9 5% of double iron bars filled in with scrolled work of strap iron. 
\) O66 Sr esse The top bar has a center scrolled finial flanked by two bird- 
o/ , : 
| _ shaped finials, and the lower bar ends in roughly hammered 
\ 95% horses’ heads. On heavy arched feet of flat iron bands. 
Ss Height, 50 inches; width, 43°4 inches. 


915—Firreentu Century Irauian Iron FIrE-Guarp 

92/ Of gate form, with two side standards and three cross-bars of 

¢36 wrought-iron bars, ornamented with wrought-iron scrollings on 

9%3 trefoiled feet of iron. Above are three cages of strap iron to 
TI7" 74% hold cooking pots and a curved bracket with iron chain. 


53 Height, 535% inches; width, 441% inches. 
SR L 
ih ra~-/ ehter_ 


Of wrought iron, with two side standards terminating in basket- 
eC) 2° shaped cages of strap iron and with horizontal bars of wrought 


iron. 
Height, 6114 inches; width, 61 inches. 


917—F 1IrTEENTH CENTURY ITALIAN IRON WASHSTAND  ( 
Of wrought iron. Square iron bar standard, supported on a 
_ tripod of three legs of square iron bars with iron ball termina- 
Vd — tions. Three straight strap iron brackets support the basin of 
majolica, painted in a design of scrolls and leaves, while a 
horizontal bar projects to serve as towel rail, with its end 
wrought into a trumpet-shaped candle holder. 


Height, 50 inches. 
(Illustrated) 


Oye Toho 

918—F irrEENTH CENTURY FLORENTINE Iron Basin STAND 
Wrought-iron tripod stand, with central shaft and curved 
brackets of iron rods supporting, on a bracket formed of four 
_— ye _ wrought-iron scrolled bands, a copper basin repoussé with the 
| figures of the Spies bearing the bunch of grapes. From one of 
the tripod feet a spirally turned iron rod, ending in a large ball, 
supports an iron disk with two candle sockets and bracketed 
arm with a hanging copper fountain with a top of swinging 
bale handle. At the junction of bracket and standard is a 

winged gryphon in wrought iron. 


Height, 5352 inches; width, 331% inches. 


See € 
da. Sragehus “GMD 


919—Pair oF FIFTEENTH CENTURY EELS ANDIRONS 
ye. Of wrought iron, the shaft formed as spirally ‘fluted | ee 
with wrought capitals surmounted by turned balls of bronze. 


Height, 345% inches. 


920—Pair or FirreentH Century ITALIAN ANoTONEE 
Wrought-iron standards, with finials of turned brass balls. 


GV ei g¢ 
Ber —". Height, 28°4 iches. 


m= 


L16 


QNVLO NISVG NOUT ANILNGAYUOTY AUDLINA) HINGALAIY “S16 “ON 


ANVLISHSYAA NOUL NVIIVIT AYALNAQ HINGALALT “L216 “ON 


816 


Sid ane aoa 
921—Parr oF FrrreentH CEnTuRY FLORENTINE ANDIRONS 
Of wrought iron, with standards terminating in ball-shaped 


finials of bronze. 
Height, 28 inches. 


GX “Cpl Cae 
922—Parr oF FrrreentH CENTURY FLORENTINE ANDIRONS 
Of wrought iron, with spirally twisted standards surmounted by 
/*) ) molded capitals and ball finials, 
Height, 283 inches. 
( Pmt Cer 
923—Parr oF FIFTEENTH CENTURY Tee ANDIRONS 
lot Shafts of wrought iron, with ball finials of brass. 
GO; — 


2 Height, 25 inches. 
| eer a 
‘ A/S ° | /h\ie Q 
924—Patr oF FIFTEENTH CENTURY ITALIAN ANDIRONS 


Shafts of wrought-iron, with ball finials of bronze. 


/ Pi 0 (—— Height, 2558 inches. 
YT: Pathe 


925—Pair oF FIFTEENTH CENTURY FLORENTINE ANDTOneal 
Wrought openwork iron shafts, with finials formed as pine- 


~ Oe Le cones. 
aot Height, 24 inches. 


Oe Ophir Ug ert 
926—Pair OF FIFTEENTH CENTURY ITALIAN ANDIRONS ( 


Of wrought iron, the shafts with incised decorations and finials 
wrought in the form of grotesque heads with bells. 


o-o74 ¢ 
Height, 235 wmches. 
927—Parr OF FIFTEENTH Gaene i ake ANDIRONS 
,. Of wrought iron, with ball-shaped finials of bronze and cage of 


aq 
| 
YL 4 — : ; 
Ube wrought strap iron to hold cooking pots. 
Height, 231, inches. 


godt 
oe VhhF I YY, 


928-——FirreeNtH Century Irarian Iron Spit | 
Poultry and game spit of wrought iron, with two clusters of 
three hooks. 
Length, 3938 inches. © 
Lang s/f) hf 


I SAK AA Gn ' 
929—FIrTEENTH CENTURY ITALIAN Conernat “de 


Circular barred grid, with wrought-iron handle. 


ee Diameter, 1584, inches. 


a 


(tw 


. AA mth a 
930—SIXTEENTH CENTURY ITALIAN FIRE-IRONS) ~ 
Wrought-iron shovel, the shaft terminating in a knob of brass 
decorated with four women’s heads in low relief, with wrought- 

iron tongs and forked poker decorated in a similar manner. 
Length of shovel, 393, inches; of tongs, 4034 inches; of poker, 

392% inches. 
loa 


nes bees 


931—SIXTEENTH CENTURY ITALIAN GRIDIRON 
Of wrought iron, with square grid and long handle. 


et be Diameter of grid, 15%4 inches by 1534 inches; length with handle, 
a U 3316 inches. 


Oats Sey get 


932—FIrTEENTH CENTURY ITALIAN lets voto [Ron TREE 


Of wrought iron, fashioned as a branching tree with eee 
a é -« iron leaves. At the end of each branch is a hook on which to 
JO hang “Voti,” or memorial medallions. 


Height, 291 inches; width, 80% inches. 


Note: A Voto was a medallion portrait, generally in wax, realis- 
tically colored, presented to a church or shrine as a thank offering or 
in remembrance of a deceased relative or friend. 


a / 
933—F 1rrEENTH CENTURY FLORENTINE IRON TRIPOD 
Tripod basin support in wrought iron. 
Height, 421% inches. 


TV Ahan 
934—FirreentH Century ItaLtiAn [ron WAsHSTAND 

Of wrought iron. On a tripod of three boldly scrolled feet of 

—7 “{ square iron bars is a central standard, with three scrolled 
: brackets of strap iron and an openwork pendant. ‘This, by iron 
brackets, supports a copper basin repoussé in a design of 
gadroons. From a perpendicular square iron rod at the back 

with an openwork finial project two horizontal bars with scrolled 

ends. One supports a copper fountain repoussé with gadroons 

to match the basin, while over the other is hung the linen towel. 


Height, 82°4 imches. 
Diameter of basin, 20 inches; height of basin, 65 inches. 
Height of jar, 125% inches. 


(Illustrated) 


935—FIFTEENTH CENTURY T'LoRENTINE COPPER Bowt AND IRON 


STAND (eo. Ciyridry Oggi 


) pre _Wash-bowl stand of wrought-iron; rod standard on ie of. 


sy 


= 


(Oo three curved feet, with wrought-iron leaves at junction. ‘The 
copper bowl, repoussé with a border of oval medallions and with 
scrolled handles, is supported by four uprights with scrolled 
ends. Above, the copper fountain, with tap and ball handle, 
hangs to the hook of a spiral iron rod support. 


Height, 61°4 inches. 


Diameter of basin, 218% inches; height of basin, 8 inches. 


(Illustrated) 


Vio- SOs 


936—FIFrTEENTH CENTURY ITALIAN WASHSTAND — 


~ ._,. Basin stand of wrought-iron bars, on four scrolled feet. Fitted 
oO Y — with copper basin and soap holder, decorated with repoussé 
work. 


Height, 51 inches; diameter of basin, 30 inches. 


+e rrry vere 


a) 


ry Vw 


qs 


e 


935 937 934 


937—SrxreeNtH CENTURY ITALIAN THREE-PIECE SET OF FIRE- 
IRONS 2 ath on SPO Oi: Ti 
Of wrought iron, consisting of shovel and two pokers. ‘The 
shafts are of cylindrical rods of iron, with molded bands of brass 
and turned brass finials of vase shape, ending in brass rings for 
suspension. One poker has a scrolled hooked end, and the other 
two sharp curved prongs. 


Length, each, of poker, shovel and fork, 441% inches. 


0~ WACO fs 
938—FIFTEENTH CENTURY ITALIAN IRON CAULDRON 


Open air brazier or cauldron of wrought iron, in the form of a 
large circular basin with molded rim and two looped swinging 
, | (“handles on a circular iron ring supported by an octagonal stand 
of eight columns of spiral rope design, ending, above the ring, 
in alternate pointed and mushroom finials and below in wrought 


hons’ paw feet. 
Height, 15%, inches; 


rameters, 231, inches. 


939—Sixreentn Century Irarian Ifon BataXxc 
Fe en Wrought-iron weighing balance, of steelyard type, without 
69 weights. 
Length, 35% inches. 
Th WSS . 
940—SIxTEENTH CENTURY ITALIAN Iron BaLANcE 
Wrought-iron weighing balance, of steelyard type. 


ale 
) Length, 39% inches. 


= 


941—Two FourTEENTH CENTURY ITALIAN IRonN CanpLE STANDS 


Of wrought iron, consisting of central standards of bar iron on 
3 Vv é ‘=a tripod of three feet, with iron-ring candle holders. 


Height, 3934 inches. 


Rie y) Nos See 
942—SIXTEENTH CENTURY ITALIAN Wark IRon 
_, _,e  Wrought-iron implement for cooking ornamental wafers, the 
( ¢@ ~~ circular leaves incised with arabesques and a patrician coat-of- 
arms. 
Length, ope inches ; SES ee inches.. 


TM nthe 
-943—FIFTEENTH CENTURY ITALIAN Rott OKER 


Of wrought iron, with three prongs and spirally twisted handle. 
Length, 32° inches. 
944—S1xTEENTH CENTURY ITALIAN IRon SPIT Ww 9/5 
Wrought-iron poultry spit, with hooks for cooking birds. 
Cr be 3414 inches. 
71 vhf GAME 
945—FIFTEENTH CENTURY ITALIAN IRON POKER 


ory Wrought-iron shaft, with two prongs. 
sea Length, 34144 inches. 
IX (1 
946—FIFTEENTH CrentTuRY ITALIAN Fire Tones 


~ <-v« Of wrought iron, with decorated finial of bronze. 
pele ect! 
Length, 351 6 inches. 


S tL At IKS Sen 
947—SIxXTEENTH CENTURY ITALIAN Toe Fork 
Wrought-iron cooking fork, with turned cylindrical handle. 


Length, 201% inches. 
SHth wEIK 
948—SrxTEENTH CENTURY IraLIAN Iron Fork 
Wrought-iron cooking fork, with spirally twisted handle. 


ae inches. 

Vn. AZ, 

949—Firreenta Century Iratian Iron Fork oe -A_ 
Kitchen fork. The handle of wrought iron, with hook for 


An ot 
—c—— suspension and with two prongs. 


Length, 211, inches. 
Gi ( WORVE AGL AS 


- | 


950—SIxTEENTH CENTURY ITALIAN Lanrern [Horner 
Wrought-iron wall bracket, with hor izontal arm and hook for 


a | “suspending a lantern. 
Height, 291% inches. 


rT 
Or Ve hha 
951—F IrrEENTH CENTURY ITALIAN CookiIne IRon 
Rectangular-shaped iron, with circular depressions on the sur- 
Cas g* face and straight projecting handle. Used to cook fruits or 
cakes. 
Length, 1384 inches; width, 11 inches. 
S Ak. wats A/L 
952—FIrFTEENTH CENTURY ITALIAN Iron ForK 
Kitchen fork. ‘The handle of wrought iron, with hook for 
suspension and three prongs. 
Length, 1584 inches. 


S th wrth Gi [Ss 


953—F IFTEENTH CENTURY ITALIAN IRON ForK 


Kitchen fork. ‘The handle of wrought iron, with hook for 
suspension and with two prongs. 


Length, 1658 inches. 
954—FIFTEENTH CENTURY ITALIAN IRON ForK 


Kitchen fork. ‘The handle of wrought iron, with hook for 
suspension and with four prongs. 


Length, 181% inches. 
Shh wth F/6 
955—F IFTEENTH CENTURY ITALIAN IRoN ForK 


Kitchen fork. The handle of wrought iron, with hook for 
suspension and with two prongs. 


Length, 18% inches. 


Shh unth 9 
956—FIFTEENTH CrEentTuRY ITALIAN LAMP f % 


Of wrought iron, with projecting wick nozzle and wrought-iron 
upright handle. 
Height, 1214 inches. 


va yee 
Vand 
, Of wrought iron, with projecting wick nozzle and S-shaped 
~¢ ~ handle of wrought iron. 


957—F IFTEENTH CENTURY ITALIAN LAMP 


Height, 173% inches. 


> a) Ahh 


\ b 
7 A Pr A. A al A 
958—SIXTEENTH CENTURY ITALIAN SAW GAVEL 


_ Serrated blade of wrought steel and turned wooden handle. 


— Length, 244 inches. . 


P ; . 
‘\ eee —y — 
. UNH lA GALS 
o ~ NK hand , ; = 


959—FouRTEENTH CENTURY ITALIAN Hanp Lamp 
Rectangular shape, with four-wick nozzle and depending from 

a spirally twisted shaft of wrought iron. 
Height, 61% inches by 61% inches. 
Length of shaft, 26°4 inches. 


Ln : ADD J, 
960—SIXTEENTH CENTURY ITALIAN Lamp HoLper aia 


. Wrought-iron wall bracket, decorated in a design of large leaves 
25> VY — and flowers. 
Height, 1958 inches. 
J) 


961— FIFTEENTH CENTURY ITALIAN WEIGHING SCALE 


Wrought iron of the steelyard type. (Incomplete.) 
Length, 201% inches. 


n 
( 
962—FIrTEENTH CENTURY ITALIAN GRIDIRON 


gee Circular barred grid with wrought-iron handle. 
Diameter, oi inches. 
Kip g. Sra ara 
963—Firreentn Century [rarian Iron LAMP 


Small hand oil-lamp of wrought iron, bearing an inscr iption in 
Bey: ST Roman lettering. | 
oO Height, 11% inches. 


\ A S 4 eS TSO 
964—SIXTEENTH CENTURY ITALIAN IRON SCALES 


Small wrought-iron weighing balance. 
S ff ; Length, 11% inches. 


965—FourTEENTH CrentTurY IrXiian CANDLE HOoLper 
Of wrought iron, formed as a wall-bracket, with cylindrical 
~ 24 standard terminating in a pricket and with a circular plate for 
wax-drippings. 
Height, 125% inches; diameter, 11 inches. 


pana ) / . 
966—FirreentH Century Irarian Lamp HOoLper J | 
re _ Wrought-iron wall bracket, with horizontal arm and a support 
33 ¢ — decorated with fleurs-de lis. 
Height, 1334 inches; length, 18% inches. 
967—F IrTEENTH CENTURY ITALIAN Lamp HOoLpEr 
Wrought-iron wall bracket, with horizontal arm and support 
P decorated with a voluted scroll. 
God ey Height, 13 inches; length, 18 inches. 


‘ 
hot 
968—FirreENtH Century Iranian STEEL Mrat CHOPPER 
Chopper for cutting up meat in wrought steel, with cross handle 
3 ( ("terminating in fleurs-de-lis. 


Length, 11% inches; width, 11% inches. 


a \ 
969—FirrrentH CrentTurY ITALIAN CanpLE HOLDER 
| Of wrought iron, with circular base fitted with cylindrical candle 
eq te socket and wrought-iron hook with which to hang it to the wall. 
| The base has the initials “B. W.” 
Height, 1014 inches. 


a vt 
970—FirTrentH Century Iratian Iron Lamp 
> , Small hand oil-lamp of wrought iron, decorated with a design 
Ee Cops aun 
SV — in incised (graffito) work. 
Height, 1058 inches. 


Pn PUY Mare 


971—F irtrentH Century Irarian Iron Lamp le 
age eras Small hand oil-lamp of wrought iron, bearing an inscription in 
Phe. Roman lettering. 

Height, 11 imches. 


‘Coyne ff . 

—V OAAMMNANMEL 
972—SIXTEENTH CENTURY ITALIAN IRON SCALES 

a ‘re Small wrought-iron weighing balance. 

ot Length, 4°24 inches. 


\\ ( 
973—SEVENTEENTH CENTURY ITALIAN LAUNDRYING IRON 


Flat-iron of wrought iron, with turned wooden handle. 
Length, 814 inches; width, 614 inches. 


1 fy 
974—SEVENTEENTH CENTURY ITALIAN LAUNDRYING IRON 


Flat-iron of wrought iron, with turned wooden handle. 
a “ i$ ra) 
ot oe aenam Length, 7 inches; width, 814 inches. 


(1 
N 
975—SIXTEENTH CENTURY ITALIAN [RON SNUFFERS 
Candle snuffers of wrought and pierced iron, with handle, stand- 
ae ing on four wrought-iron feet. 
Height, 51 inches; length, 71% inches. 


n u) 
976—FIFrTEENTH CENTURY ITALIAN CANDLESTICK 
Of wrought iron, with socket for candle, and straight projecting 
+ @ handle of inlaid wood. On four high feet of wrought iron. 


Bo 
Height, 65% inches. 
1) \) 
977—FourTEENTH CEenTURY Iranian Hanp Lamp 
Of wrought iron. Cylindrical shape, with pointed domed top 
CW and looped handle. 


Height, 51% inches by 6% inches. 


It 
( 
978—SIXTEENTH CENTURY ITALIAN BRAZIER 
Square shape. Of wrought iron, with ball handle and four 
oi fad wrought-iron feet. 
Height, 5% inches; width, 61/4, inches. 


| 
979—FIrreeNtH CENTURY ITALIAN SNUFFERS 


os B Of wrought iron, formed as scissors with wrought-iron handle on 
y ©” four curved legs. 


I 


+ 
, 


EVENING SALE 
MONDAY, NOVEMBER 27, 1916 
IN THE GRAND BALLROOM OF 


THE PLAZA 
FIFTH AVENUE, 58rx to 59rx STREET 


BEGINNING AT 8.30 O'CLOCK 


Catalogue Nos. 980 to 1043, inclusive 


TUSCAN SCHOOL 
XV CENTURY 


980—PAINTED CROSS ot me 


(Wood) eS ARs 


ee ti ; 
ge AV v1 grtty 


ae Height, 18 1/10 inches; width, 13 inches be 


A woopen floriated altar cross painted on both sides. At the inter- 
section of the arms on either side is painted Christ upon the Cross, 
above which are figures of God the Father surmounted by the Dove 
emblematic of the Holy Ghost. The quatrefoiled ends of the arms 
are occupied with paintings of the Saints. 


From Professor Volpi’s Villa Pia, Florence. 


NAHM LY" 


LA 


LUCA SIGNORELLI 
Iranian (Corrona): 1441—1523 


981—PORTION OF AN ALTARPIECE 
(Companion to No. 982) 


w / Qy 
jee (Panel) Ff. Sie L111 Y 
f Height, 7 1/3 inches; length, 161% inches (fe 


THE second picture, “Christ at Emmaus,” portrays the risen Christ, 
clothed in a brownish robe which has fallen away from His right arm 
and shoulder, standing in a bare unfurnished room. Above His head 
is a nimbus, His arms are outstretched and He exhibits to His 
disciples, who are grouped around Him, His stigmata, or sacred 
wounds. The disciples, who are dressed in flowing robes of various 
colors and over whose heads are gilded haloes, regard the wounds 
in differing attitudes of astonishment. 


From the famous Mancini Collection in the city of Cortona. 


From Professor Volpi’s Villa Pia, Florence. 


LUCA SIGNORELLI 
Iratian (Cortona): 1441—1528 


982—PORTION OF AN ALTARPIECE 
(Companion to No. 981) 


( Panel) Ve a ay 


oT AM 010) 


Ss a Height, 7 1/8 inches; length, 1614 inches 


In the “Noli me tangere,” the first of the two compositions, Christ 
is appearing to Mary Magdalene after His resurrection. Dressed 
in a single white garment, girdled at the waist, with a gilded nimbus 
and carrying a spade on His right shoulder, He waves away with His 
left arm the shrinking and crouching Mary Magdalene, who, clad in a 
red robe, approaches her Master. On the right at the entrance to a 
rocky cavern is seen an open sarcophagus, into which three of the 
disciples are gazing in attitudes of affrighted astonishment. A short 
distance away the two Maries are standing weeping. The background 
is arocky and hilly landscape. 


From the famous Mancini Collection in the city of Cortona. 


From Professor Volpi’s Villa Pia, Florence. 


L. GUTTENBRUNN 


German (Frorence): XVIII Century 
983—PORTRAIT OF A YOUNG LADY 


. la ro ff fff 
rem L (copes: vcs F oath y 
Sts Height, 16 9/10 inches; width, 12 2/5 inches f 
V 


Porrrait of a young lady in eighteenth century costume. Standing in 
a landscape which forms the background. 


In a contemporary frame of carved wood. 


From Professor Volpi’s Villa Pia, Florence. 


SCHOOL OF VELASQUEZ 


Spain: XVI CEentTuURY 


984—PORTRAIT OF A YOUNG CARDINAL 
(Canvas) 
(con jp 6 ya 2, ¢ 
SQ 0— Height, 19 inches; width, 1414 inches 0% - &~ Sree 
U 
Busr portrait of a young man in a salmon-colored tunic and deep 
falling collar of grayish white. He has dark flowing hair, a slight 
mustache and chin tuft, and regards the spectator, almost in full face, 
with a somewhat sullen air. He is painted against a dark background. 


In an old frame of carved and gilt wood. 


From Professor Volpi’s Villa Pia, Florence. 


PRIMITIVE SCHOOL OF FLORENCE 
XIV Century 


985—_M ADONNA AND CHILD 
(Wood Platter) pH 2) ae 


| P , 
XH CL Ved LA ALE KU\4 4111 
ef) 


/ oo Height, 14 inches; width, 84g inches 


Tuis early example of an oblong-shaped “Vassoio per puerpera” 
platter is painted on one side with a bust of the Virgin, her head 
covered by a fold of her dark blue, gold-bordered mantle, seen in 
three-quarter view. She holds to her bosom with her left hand the 
Child Christ, who, in a linen robe with loose sleeves and curling fair 
hair, presses His baby face lovingly to His mother’s cheek, while 
she gazes at Him with a sad solemnity in her almond-shaped dark 
eyes. Painted on a gold background with incised haloes around 
both heads. The rim of the platter is molded and gilded, while on the 
back is painted a head of St. John the Baptist. 


From the Davanzati Palace, Florence. 


FRA BARTOLOMMEO DELLA PORTA 
(BARTOLOMMEO DI PAOLO) 


Irauian (Fiorence): 1475—1517 


986—PORTRAIT OF GIROLAMO SAVONAROLA 
5 reg we Height, 133 inches; length,. 1734 


mches von 
Peay Vrnne VC. fe Or LAA Us art- 
Bust-LeNGTH portrait of Girolamo Savonarola. The martyredmonk 
is shown in full profile, showing the strongly marked features, the 
aquiline nose, full lips and deeply sunken eyes which contemporary 
portraiture have made familiar to us. His lips are closed together 
and he gazes forward as though seeing one of the “Visions” the recital 
of which had, with his contemporaries, the force of prophecy. He is 
dressed in the black robe, with its hooded mantle, of the Order of 


~ St. Dominie. 


In an old molded and gilt wood frame. 


From the Davanzati Palace, Florence. 


SCHOOL OF GIOTTO 
XIV CENTURY 


987—-HEAD OF DANTE ALIGHIERI 
(Panel) 
Se ae ae Height, 15 inches; width, 11% inches, _ & 


oe 
VU Ome 


yrs 
ADK A 


Bust view of the great Italian poet. The strongly marked features 
are seen in profile and the subject is wearing a close-fitting Florentine 
cap with long tongue-shaped ear lappets. He is dressed in a loose 
robe of red, with close collar and pointed lapels. A horizontal band at 


the bottom of the panel is painted in an egg and dart patterning. 
In old molded and gilt wood frame. 


From the Davanzati Palace, Florence. 


CO 


GIAMBATTISTA TIEPOLO 
Travian (VENICE): 1696—1770 


988—_STUDY OF A MAN'S HEAD 


(Canvas ) 
Rona eee Height, 12 1/5 inches; width, 11 inches o> ; 
mu 07ty bo el 


A rouGH but convincing example of the painter’s brushwork, this 
study shows the head and bust of a middle-aged man, seen in three- 
quarter view looking towards the spectator’s right and slightly thrown 
back. He is dressed in a tunic of green with large falling collar of 
white linen. He has a mustache and pointed beard and on his head 
he wears an embroidered cap. 


In a contemporary frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


GIAMBATTISTA TIEPOLO 
Trauran (VENIcE): 1696—1770 


989 STUDY OF A WOMAN’S HEAD 
(Canvas) 
IAT 7) Height, 12 inches; width, 10 oe inches 


fee oe ee 
/ hay) f 
y, Lhi : PAA AY A AL A 


Bust-LENGTH portrait of a young woman, the face seen in profile and 
turned to the spectator’s right. She is dressed in a costume of yellow 
with loose blue sleeves and white ruff and her brown hair falls in 


curling masses to her shoulders. 


In a contemporary frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


ANDREA PREVITALI 
Iravtan (Bercamo): 1480—1528 


Tal 


990—RESURRECTION OF CHRIST F ‘ 


cr~ f » / WY /) 7. he f : 
(Panel) ‘ Ud Vikarrdyv Ate Ar he Lut. 
) re . 5 4 : ~ 
I wr Height, 91, inches; width, 11 8/5 inches 


V 


Upricut figure of the Saviour, who, clothed in a single white garment, 
stands upon the edge of an open sarcophagus of stone, the displaced 
lid of which leans against one of its sides. In His left hand He holds 
a white banneret bearing a red cross, and His right hand is raised in 
the act of benediction. The rocky background is sombre and dark, 
the sky on the left being lit up with a murky red sunset, but otherwise 
veiled with dense clouds. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


TOMMASO DI CRISTOFORO FINI (MASOLINO DA 
PANICALE) 


Irauian (Frorence): 1883—1447 


991—MADONNA AND CHILD 
PAM: Mrrip lary PA 


WLAAA 


/ eee Height, 11 4/5 inches; length, 15 1/9 inches 


A. HALF-LENGTH figure of the Virgin seen in full face and standing 
erect with the Divine Child seated on her right arm, her left hand 
with the ring of espousal on the second finger being covered by the 
folds of her veil. She is dressed in the conventional red tunic and 
blue mantle, the latter, with the white veil of semi-transparent material 
beneath it, acting as a head covermg. ‘The Divine Child, clad in a 
white linen tunic, holds in His left hand a flower and raises His 
right in the act of benediction. His head is encircled with a rayed 
nimbus; that of the Virgin with a large floriated halo. The back- 
ground is of solid gold. 


In an old frame of molded and gilded wood. 
From Professor Venturi’s Collection. 
From Professor Volpi’s Villa Pia, Florence. 


Note: With the exception of the celebrated frescoes in the Baptistry at 
Castiglione, but little of Masolino’s work remains, a fact that makes of espe- 
cial interest this characteristic panel, undoubtedly the work of the master. 


Be Ce en ee ec 
oaks 8 eS BE a acy ated 


GENTILE MASSI (GENTILE DA FABRIANO) 


Iranian (Frorence): 1865—1454 


992—-MADONNA AND CHILD 


(Panel) 
| ee Height, 151% inches; wing © inches — a 
AS AGIYY AE rr 46 


PANEL with arched top. The Virgin, aware on a pillow, suppor ts cae 
nude standing Infant Christ with her left hand, while in her right 
she holds one end of a diaphanous veil, the other end of which is thrown 
over the Divine Child’s shoulders. She is dressed in a purple tunic, 
while a beautiful red brocaded mantle edged with a band of gold em- 
broidery covers her shoulders. She wears a jeweled crown and 
jeweled halo, and the Child has a golden nimbus, and around His 
neck He wears a string of pink coral. Around the Mother and Son, 
upon the dark background, are painted four angels holding the em- 
blems of the Passion, a cross, a column, a rooster and a scourge, while 
above is seen a representation of the Father in Glory. The frame, 
of carved and gilded wood, is shaped as a Tabernacle. It is flanked 
by two fluted and astragalled Corinthian pilasters which support a 
frieze carved with acanthus scrollings and a molded and carved cor- 
nice. The molded base is also carved with acanthus-leaf scrollings. 


From the collection of Count della Porta, Gubbio. 


From Professor Volpi’s Villa Pia, Florence. 


DIRK BOUTS 
Fremisu: 1400—1475 


993—HCCE HOMO 
( Panel) 


Aiea Height, 181% inches; width, 91/4 gg 


Bust view of the Saviour, with head slightly inclined on one side and 
with downeast eyes, which regards the spectator with a look of re- 
strained suffering. Around the head is a crown of thorns from which 
blood trickles down the brow and cheek. Clad in a red tunic open at 
the neck, to show part of the blood-bespattered chest. Dark green 
background. Contemporary frame of carved, painted and gilded 
wood. 


In an old frame of carved, painted and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


Arrrizutep TO FRANCESCO RAIBOLINI (FRANCIA) 


Irauian (Botoena): 1450—1517 


994 CHRIST BEARING THE CROSS 


(Canvas mounted on panel) 
G< 


3 no Height, 171% inches; width, 18% inches. 

O- Dea Ae. 
A Bust of the Saviour seen full face. He wears a light ved tunic, His 
long fair hair curls downward to His shoulders and His features are 
suffused with an expression of restrained but poignant agony. The 
high brow is encircled by a crown of thorn, while around the neck and 
falling over the breast is knotted a loop of cord. Against the dark 
background is seen the upper part of the cross, its head and arms cut- 
ting diagonally across the picture. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


DOMENICO CAMPAGNOLA 
Iratian (Papua): 1482—1550? 


995-SALOME WITH THE HEAD OF 
JOHN THE BAPTIST 


a j ; (} FR 
/ 2 (Panel) AY Ye | of thins 


Height, 18 1/3 inches; width, 14 3/5 inches 


In a courtyard of Herod’s palace a banqueting table is set out parallel 
to the side walls. It is covered with a cloth of white damask, and on 
it are placed dishes and drinking glasses. In the center sits King 
Herod, in an orange-colored robe trimmed with ermine, having on his 
right a youth in a red tunic, on his left, a gray-bearded man in black, 
while in the background a lady regards the scene with affrighted eyes. 
On the other side of the table, in front of the King, stands Salome 
with a high sixteenth century head-dress and clad in a red robe and 
bluish-green under-skirt. In her hands she holds, and offers to Herod, 
a metal “charger,” on which is the head of St. John the Baptist. 
Behind Salomé stands the executioner, dressed in a green tunic and 
red hose slashed with black, replacing his sword in its scabbard; at 
his feet is the headless trunk of the Saint and behind him is a soldier 
in armor. At the back, through the opening, are seen a graceful tree 
and a landscape, in which the principal object is a towered castle on 
one side of a wooden hill. Above is a cloudy sky. 


From Professor Venturi’s Collection. 


From Professor Volpi’s Villa Pia, Florence. 


JACOPO CARUCCI (JACOPO DA PONTORMO) 
Irauian (Fiorence): 1494—\1557 


996>—THE NATIVITY OF THE VIRGIN 
(Paper) 


aa 


fe? sen Height, 1658 inches; length, 17 Be 
ay 


PEN-AND-INK drawing in sepia, touched up with fal executed as a 
study for a painted “Vassoio da puerpera,” or child-bed platter. In 
this tondo-shaped sketch, a glimpse only of the mother is had as she lies 
on the typical Tuscan dais-bed of the period. Around the bedside are 
clustered the female attendants, and at the bed’s side sits the aged 
grandfather of the Virgin, writing, with a quill pen, on a page of 
parchment. On the other side is the grandmother, while the new- 
born Virgin herself, a winsome-faced child with curling hair assigned 
to her by tradition, is held in the arms of an attendant. ‘There are 
ring haloes above the heads of the three principal figures. The back- 
ground is of draperies. 


In an old molded, painted and gilded wood frame. 


From the Davanzati Palace, Florence. 


a 


2 Teter difigales 


JACOPO CARUCCI (JACOPO DA PONTORMO) 


Travian (Fiorence): 1494—1557 


997-THE NATIVITY OF THE VIRGIN 
(Wood) 


u ( 00 qf Pale inche | gu Ay (— 
Tue “Vassoio da puerpera,” or eared wood platter for which the 
preceding is the original sketch, was presented to the mother of a new- 
born child. The painting, which is in oils, is rich in its coloring 
and of an admirable surety of execution. It follows the sketch im 
every detail save that the bed is thrown into such a deep shadow that 
all details, even that of the recumbent figure, are lost, while the figure 
on the extreme left is entirely omitted. The platter is of wood, turned, 


with a gilded rim and a coat-of-arms painted on the back. 


From the Davanzati Palace, Florence. 


DOMENICO THEOTOCOPULI (KL GRECO) 
Spain (Maprip): 1548—1625 


998—AN INCIDENT IN THE LIFE OF CHRIST 
(Panel) 


ee Height, 15 1/8 inches; width, 13.1/5 inches aeey 
ie : AAC H LA ALK 
Tur picture shows the interior of a room 1 richly decorated in vari- 
colored marbles. In the center, seated alone at a table covered with 
a white cloth and set with a repast, sits the Christ, dressed in rich 
red robe and blue mantle. Before Him, on the spectator’s left, is a 
woman, wearing an orange over-dress and blue skirt, dancing in an 
exaggerated manner and fantastic posture. The Saviour is evidently 
reproving her, despite the appeal of a third woman, probably intended 
for Mary Magdalene, who, in yellow and red rubes, kneels at her 
Master’s feet with her hands raised in an attitude of supplication. 
In the background is a row of marble columns through which is seen 
a blue sky with white clouds. The floor is inlaid with squares of black 
and white marble. 


In an old frame of carved and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: El Greco, the erratic Greek whose name, owing to a lifetime spent 
in Spain, adorns the roll of Spanish painters, has only of late years come to 
his own in the estimation of leading critics. His fantastic ideas and note- 
worthy coloring are displayed to advantage in this interesting example. 


LUDOVICO MAZZOLINO 
Travian (Ferrara): 1481—15380 


999 THE ANNUNCIATION 
(Panel) 
Height, 20 7/10 inches; width, 1284 inches meu Se 
QA ISarnrnr-evy bre 
Ix the immediate foreground and in the center of the picture, the 
Virgin, in red robe and blue mantle, kneels at a prie-dieu, richly 
carved at the sides with birds whereon is an open book on which rests 
her left hand. ‘oo the left is a small table covered with a linen cloth 
on which stand a brass candlestick and a flask of oil. With her right 
hand pressed to her bosom and her head leaning to one side in a listen- 
ing attitude, the Virgin receives the tidings delivered by the Angel 
Gabriel, who, with outstretched wings, hovers in the air on the left, 
and, as he delivers his divine message, tenders to the Virgin with 
his right hand the lily of purity. Above the Angel, seated in clouds, 
is the figure of God the Father, in a red robe, extending His arms 
in an attitude of benediction, while below Him descends the Dove 
of the Holy Spirit. The background on the right is occupied with 
the entrance to a house of some architectural pretensions, above the 
curtained: door of which is seen a frescoed panel painted with the 
subject of Judith in the Assyrian camp holding the head of Holo- 
fernes. Upon the left, behind the Angel, is seen a landscape back- 
ground with hills and a castle. 


In an old frame of carved and gilded wood. 


Illustrated in the Catalogue of the Stroganoff Collection. 


From Professor Volpi’s Villa Pia, Florence. 


stl ett coon ett rat oii 
secre enstirencrnesteadnn ater 


NICCOLO RONDINELLI 


Iratsan (Ravenna): Late XV Century 


1000—MADONNA, CHILD CHRIST AND ANGEL 
(Panel) 
7 os Height, 25 3/5 inches; width, -8Y%4 ee 


f 


Vea eo har ti 
Tuer Virgin, seated with her head reed? on one side, holds in her 


arms the nude Child Christ, who holds a fold of His Mother’s head- 
Covering with His left hand, and His right rests in His lap. The Vir- 
gin’s head is covered, after the manner of a coif, with a white linen 
head-dress which falls over her shoulders, she wears a tight-fitting tunic 
of reddish brown richly embroidered with gold and is enveloped in a 
loose mantle of a beautiful red which covers her head under the white 
veil. On the left stands a boy angel dressed in a blue robe; his head, 
with long, wavy hair falling on both sides, is thrown back in the act of 
singing, and he accompanies himself on a lute. As background, on the 
right, is a curtain of green with a band of embroider y, falling in wide 
plaits, and on the left is an opening through which is seen the blue 

sky flecked with white clouds. As a base, is a marble ledge upon 
which, in the center, is thrown a branch of an apple-tree with fruits 
and flowers. 


In an old frame of carved and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 
Note: So nearly in the manner of his master Bellini did Rondinelli paint, 


that at least one of Bellini’s noted pictures is now believed to have been painted 


by his pupil. 


PRIMITIVE SCHOOL OF FLORENCE 
XIV Century 


1001—A_ CRUCIFIXION 
(Panel) 


Cem oe Height, 36 inches; wee ie inches 


—_Z VU /) 


! gegen Pre 
AN altarpiece with a solid gold ee In the center is a rep- 


resentation of Christ hanging on the cross, flanked by three figures 
of saints on either side. They are of both sexes and are shown with 
their attributes dressed in robes of various colorings. 


In an old frame of carved and gilded wood. 


From the collection of the poet Gabriele d Annunzio 


From Professor Volpi’s Villa Pia, Florence. 


tae 


~~ 


BERNARDINO DI BETTO (PINTURICCHIO) 
Irauian (Umprian): 1454—1518 


1002—MADONNA AND CHILD 


(Panel) 
TO eo Height, 22% inches; width, He aslo @) f. : / 
< te AT XA gy 
Tue Virgin, seated, holds the Child Chtist, Sie prasps a His teft 
hand a red globe and uplifts His right in the act of benediction. ‘The 
Virgin’s head is covered with a white veil which falls upon her shoul- 
ders, and she wears a dark purple robe with an olive green mantle 
whose border is enriched by a band of gold embroidery. In the 
background is seen a mountainous landscape, with crags, rocks and 
trees. 
In an old frame of carved, painted and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 
ZANOBI STROZZI 
Iratian (FiorenceE): 1412—1468 
10083—DEPOSITION FROM THE CROSS ¢ 
(Panel) J C KQAAA OC GL Ate LYE | 
( yr st Height, 24 1 /5 inches; width, 16 1/3 inches 


In the upper part of the panel against a background of Bie sky the 
lifeless body of Christ is being lifted down from the cross by two of 
His disciples, who raise themselves on a ladder. At the bottom of 
the cross the Virgin stands raising her hands as though in a despairi ing 
appeal for assistance. To the left are the other Maries weeping, and 
on the right other disciples. The background consists of a landscape 
with hills and a river, and a distant view of the wall-surrounded Jeru- 
salem, which is depicted as a fifteenth century Italian city. 


In an old frame of carved and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: Strozzi, a Florentine of noble birth, though pupil and occasionally 
a collaborator of Fra Angelico, painted rather as an amateur than as a 


professional. 


BALDASSARE PERUZZI 
Iratian (Siena): 1481—1536 


1004—PORTRAIT OF HIMSELF 
(Canvas) 
Height, 19 inches; width, 144% inches | / 


A peas }} 

aes We ar Veh Uo ptt 
A Bust portrait of a young man, with long, almost straight, hanging 
brown hair parted in the middle, a drooping brown mustache and 
slight beard. Regarding the spectator in full face, he is dressed in a 
vest of greenish blue bordered with orange and tied with ribbon, a 
white cambric lace-edged shirt, a dark mantle and a black velvet cap. 
In the background is a wooded landscape with the ‘Tuscan hills in the 
distance. 


In an old frame of carved and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: Distinguished rather as an architect than as a painter, Peruzzi was 
nevertheless an accomplished draughtsman and has painted at least one picture 
of note, a Sybil for a church in Siena. 


FERDINAND BOL 
Hoiianp (AmsrEerpAM): 1616—1680 


1005—PORTRAIT OF REMBRANDT 
(Canvas ) 
Se ee Height, 201% inches; length, 24 2/5 inches) 


(OAT ee Lot 

Tus is a copy, by Rembrandt’s most famous pupil, of the Master’s 

own portrait of himself, now in the Uffizi Gallery in Florence. ~ It 
shows the great painter as a comparatively young man, dressed in a 
brown tunic and mantle of the same color, the latter falling away 

at the breast so as to expose a steel gorget. His long, curly brown hair 

is partly covered by a round flat black velvet cap and he wears his 
favorite gold chain around his neck so as to fall over the gorget. ‘The 
background is of grayish yellow lightened somewhat upon the left- 
hand side of the picture. 


In a contemporary frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


CUES EMBL ES AGEL P A AERA 


aa 


MARCO BASAITI 
Iravian (VENETIAN): 1460—1525 


1006—PORTRAIT OF A MAN 
Height, 20 ESN: ee eg inches 


ea, fc 
bog es i ppt uh Lis 

Busr portrait of a man in a three- ie view 7 (ook eee the Spec: / 
tator’s left He has a full, determined, clean-shaven face, with a scar 
on the forehead, the mouth being tightly closed, with an expression of 
firmness, and the long light-colored hair falling to the shoulders. He 
wears a high round black cap, and is dressed in a black habit. To the 
left is an open window showing a mountainous landscape, evidently 

a view of the Cadore Hills, with a small lake upon the shore of which 

is a shepherd with a flock of sheep. 


In an old frame of carved and partially gilded wood. 


From the Grandi Collection of Milan. 


From Professor Volpi’s Villa Pia, Florence. 


Note: Marco Basaiti is one of the earliest of Venetian portrait-painters ; 
portraits by him are infrequent but highly esteemed. Like his subject pictures, 
they display much of the brilliancy and delicacy of contemporary Flemish 
masters. 


15 


GIROLAMO ROMANIT (IL ROMANINO) 
Travian (Brescia): 1485—1566 


1007—PORTRAIT OF A YOUNG MAN 
(Canvas ) 


o a Height, 25 3/5 inches; width, 20% inches ~~» 


Wo: 6+ GA 
HALF-LENGTH portrait of a young man, the face in three- -quarter 
view looking towards the spectator’s left. He is dressed in a loose 
tunic of white with loose sleeves and a standing collar, opened so as to 
show a frilled cambric undergarment. On his head he wears a rich 
flat cap of red with a plume of white ostrich feathers, and in his right 
hand he holds a leather gauntlet against his breast. The youthful 
face, with its faint trace of a mustache, looks out from the picture 
with a sedate, almost an intriguing, look in the closed lips and wide- 
open eyes. In the upper left-hand corner is painted the name: ABRAM 


FEDERICI. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


mt e 


& 


JACOPO PALMA (IL VECCHIQO) 
Iranian (VENETIAN): 1480—1528 


1008-—-PORTRAIT OF AURELIO ONIGO 
(Panel) 


Height, 24 OPEL wid th, 2014 inches 
(3 prnnewyy CBW Ly 

HALF-LENGTH portrait, nearly full face, of Aurelio, son of Augustin 
Onigo a Roman Senator. The young man has long dark hair, is 
bearded, and is dressed in a brown fur-trimmed robe, with a white 
shirt showing at the neck. On the finger of the left hand, which shows 
at the bottom of the picture, he has a gold rng. As background there 
is a semicircular architectural recess of grayish yellow color. 


In a contemporary frame of carved, painted and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: The small village of Onigo owed its name to the family whose ruined 
castle still commands the town from a nearby height. In the late fourteenth 
century the head of the house was one Augustin Onigo, a wealthy patron of the 
arts, and the father of two sons, one of whom, Aurelio (whose portrait is 
under consideration), was married to Constance de Castelfranco. By the 
Onigo family this portrait was attributed to Giorgione, who was a protégé of 
Aurelio, but experts, whose opinion is regarded as authoritative, have pro- 
nounced it to be the work of Palma Vecchio. It is at least certain that the 
picture hung in the Palace of Treviso as a highly regarded treasure until the 
day, in 1904, when the last descendant of the illustrious family was killed 
in his own garden. 


oy 


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FRANCESCO GUARDI 
Irauran (Venice): 1712—1798 


*1009—A MASKED BALL IN VENICE 


(Canvas) 
Si ae Height, 121, inches; length, 20 mches, oy ; 
\gv y Ve - Aun 
TE interior of the Venetian Ridotto in the eighteenth century. ‘The 
room is of great size, the walls plainly painted in a grayish green tone, 
and the rafters of the high ceiling exposed. In the vast spaces of 
this room a masked ball is in progress, the numerous figures being 
clothed either in fancy costumes or in dominoes, the sombre effect of 
the black capes of which is relieved by the gaiety of the light-colored 
dresses beneath, and more especially by the vivid coloring of a harle- 
quin’s costume in the near foreground. 


Illustrated in the Catalogue of the Stroganoff Collection. 
From Professor Volpi’s Villa Pia, Florence. 
Note: Among Guardi’s familiar scenes of outdoor Venice this interior, 


with its masterly treatment of figures seen in an artificial light, holds a place 
entirely its own. 


Be 


PRIMITIVE SCHOOL OF FLORENCE 
Earrty XIV Century 


va 
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I 0 1 0O—TRIP T YCH SLL, A VAs M <7) L (ee Sp Lhe ALS 4 - 3 


(Carved and painted wood) 
ie Height, 215% inches; width (open), 221% inches 


Tux triptych, with gabled top, has a molded base, a molded frame 
and two hinged doors. In the center panel is seen the figure of the 
Virgin seated, dressed in a blue mantle and holding the Christ, clad 
in a single garment of linen, on her left arm, while His mother sup- 
ports Him with her right hand. On either side are two Saints. Those 
on the spectator’s left in monastic robes and holding open books, 
those on the right consisting of an adult St. John the Baptist in a 
camel’s-hair garment, and a kneeling ecclesiastic. In the immediate 
foreground are kneeling figures of St. Francis with the Stigmata on 
the left, and St. Bernard with his rosary on the right, while in the 
center are miniature figures of a kneeling angel playing a viola and 
the standing figure of the Donor, evidently a youthful Prince. All 
the figures, except the Donor, have gilded and patterned haloes. The 
leaves are painted, that on the left with Christ bearing His Cross over 
a rocky pathway with a Roman soldier and Disciples in the back- 
ground, and that on the left with a Crucifixion, with a skull and cross- 
bones at the foot of the Cross, and the Virgin and St. Mary Magdalene 
lamenting on either side. The pointed upper portions of the leaves are 
occupied with an Annunciation, the Angel kneeling on the left, the 
Virgin by a prie-dieu on the right. 


The frame and base are gilded and there is an iron ring for suspension. 


From the Davanzati Palace, Florence. 


A ah > 


Be ee 


DOMENICO BIGORDI (GHIRLANDAIO) 
Irarian (FLorence): 1449—1494 


1011—_THE ANNUNCIATION 


(Two leaves of a wooden tabernacle) 


Height, 10 1/5 inches; width, 3 1/6 inches 
Tabernacle, 11 2/5 inches by 6 S/N agehes 


4 deer (Suirgprne— 
THE subject is painted on the inner surfaces of he round arched doors 


of a plain wooden Tabernacle. On that on the right- hand side the 
Virgin is seen standing in the middle of a spacious apartment with 
paneled walls. She is dressed in a red tunic with tight-fitting sleeves 
and a voluminous red mantle, is haloed, and, with a beatific smile on 
her face, she raises her right hand, as though to acknowledge the 
salutation of the angel, while in her left she clasps to her bosom a 
closed book. Behind her is seen a high canopied bedstead draped with 
looped back curtains. On the leaf of the left-hand door the angel 
Gabriel is seen in the midst of a delightful landscape of trees, rocky 
cliffs, and a lake. In the sky above, rays of glory, proceeding from a 
cloud, envelop a descending Dove, emblem of the Holy Ghost. The 
angel, with outspread wings, is seen in profile as he kneels and, with 
uplifted hands, delivers his tidings to the Virgin. Tabernacle with 
arched top and hinged doors on a molded wooden base. 


. Onde 
oo Pian 


From Professor Volpi’s Villa Pia, Florence. 


Fie BR SE Sind MEY 


SANO DI PIETRO 
Iranian (Siena): 1406—-1481 


1012—MADONNA AND CHILD 

(Panel) 
De ore Height, 2834 inches; width, 193 inches 

WV. Gearnran Ugur 

HALF-LENGTH figure of the Virgin seated, in a blue mantle having 
an embroidered star on the right shoulder. Her face is surcharged 
with Divine pity and she supports the standing Child Christ with her 
right arm. He is clothed in a single garment of fine linen and looks 
outward and beyond the spectator with wide-open eyes and an ex- 
pression of awed foreboding. The Child’s head is surrounded by a 
nimbus with a cross, and that of the Virgin with a gesso-worked halo 
bearing the inscription, ““Ave, Gratia Plena.” At either side, behind 
the central subject, are the figures of two Saints, St. Bernard and 
another, in the robes of their Orders, while above, arranged in a half- 
circle, are the garlanded heads of four angels. The panel has a 
round-arch top and is in an old carved, painted and gilded wood 
frame, with a cusped round-arched head and a paneled plinth inscribed, 
“Salve Regina Misericorde.” 


From the Davanzati Palace, Florence. 


PETER PAUL RUBENS 
Fiemisu (Antwerp): 1577—-1640 


10183—PORTRAIT OF CAROLUS DE MALLERY 


(Canvas ) Ve arnrek. Io Ae 
Height, 22 inches; width, 15°4 inches 


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U3 0 


Bust portrait with the head seen from the front, the dress and the 
mantle black, white collar. Dark yellow background. 


In an old frame of carved and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: Karel van Mallery was a Flemish engraver of some note and a 
contemporary of Rubens. 


DARIO VAROTARI 
Iranian (Verona): 15389—1596 


1014—PORTRAIT OF A MAN 
(Canvas ) 


mw ‘ 
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f S COHN cK. y of 


Pel aety'e Height, 261% inches; width, 2414 inches 
; g 2 74 


Har-Lenctu figure of a young man, his head leaning towards the 
spectator’s left, seen in three-quarter view. His finely modeled face 
is clean shaven, and his wide-open eyes seem to be gazing reflectively 
into the dim distance, while his thin lips are firmly closed. He is 
clad in a loosely-fitting black robe, gathered into a cape at the shoul- 
ders, with a V-shaped opening at the neck which allows a finely plaited 
shirt of white linen to be seen. On the right of the picture is a stone 
pilaster sculptured with marks and figures and bearing the signature 
of the painter, “D. V.” 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


JACOPO PONTE (IL BASSANO) 
Irauian (Venice): 1510—1592 


1015—PORTRAIT OF THE ABBOT-GENERAL GRE- 
GORIO BARBARIGO 


fp eo 
we : 
aes (Canvas) oC - Me Ww he 
Height, 451% inches; width, 387 inches. Vv 
A HALF-LENGTH portrait of a member of a Patrician family of Venice. 
He is shown in full face, dressed in the white robe of his order and 
wearing a dark mantle. He is seated in a large chair, on one arm 


of which his right hand is resting, while the other arm of the chair 
supports his left arm, the hand of which clasps a closed book. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


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JACOPO PONTE (IL BASSANO) 
: Irauian (Venice) : 1510—1592 


1016—PORTRAIT OF A VENETIAN AMBASSADOR 
(Canvas) Nee © ,f : 

fleece Height, 37 2\/ 5 inches; length, 46 inches 

Har-Lencru portrait of an ecclesiastic seen in full face. He is 
dressed in a reddish-colored cassock with large sleeves, beneath which 
is seen a red talare, or vest. His right hand is slightly extended as 
though he were speaking, and the left rests upon a table on which 
lies a bull of Pope Clement VII, enough of which document is legible 
to show that the portrait is that of an Ambassador to Pope Clement's 
court. On the right is an open window from which is seen a view of 
Rome, showing the Castel Sant’ Angelo. ‘The background on the 
left is of a dusky brown wall. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


ALESSANDRO FILIPEPI (SANDRO BOTTICELLI) 
Travian (Frorence): 1447—1510 


1017-MADONNA AND CHILD 


(Panel) 
70 ee Diameter, 3014 inehes & See 
_ YEV. fearrrar- 4“ge*" 


Iw the center of this tondo the Virgin sits with her back to a pedestal- 
like wall of stone. She leans on one side her head, with an inexpres- 
sibly sorrowful air of foreboding in her beautiful face and presses 
to her right cheek the curly hair of her Divine Child, who looks upward 
to His Mother with a look of loving commiseration on His baby face. 
He is dressed in a simple garment fastened under His right shoulder 
and doubly girdled around him by a ribbon. On the Virgin’s left 
and the spectator’s right stands an infant St. John the Baptist, clad 
in the traditional garment of skin and holding in his left hand a label 
to which with the right he directs attention. It bears the inscription 
in Roman lettering: Ecck agNus DEI (Behold the lamb of God). On 
the picture’s left is a typical Botticellian boy angel, with long, wavy 
hair falling over his shoulders, dressed in a loosely gathered robe and 
holding an Kaster lily which he seems to present to the Mother and 
Child. On either side of the background are presented glimpses of a 
delightful landscape. 


In a contemporary frame of wood, gilded and carved with a wreath of 
fruits and leaves bound above with a knot of ribbon and meeting below in 
a floral rosette. The inner rim carved with classical fleurons, the outer rim 
in a pattern of imbrications. 


From Professor Volpi’s Villa Pia, Florence. 
Note: 'This picture, painted by Botticelli in his third manner, came from 


the Villa of Count Tommasi of Cortona and is known in Italy as the “Tom- 
masi Madonna.” 


FRANCESCO RAIBOLINI (FRANCIA) 
Irauian (Boroena): 1450—1517 


*1018—MADONNA WITH CHILD AND SAINTS 
(Panel) RY fe Oe Fv 


A) oT te Height, 294 inches; width, 221% inches . 
SEATED in the center of the picture is the Virgin, with plainly smoothed 
hair parted in the middle and concealing her ears, her head inclined 
slightly forward, the face with an expression of ineffacable but fore- 
boding sweetness. She holds on her lap the Infant Christ, who gazes 
out of the picture with a solemnity of expression curiously akin to 
that of His Mother. The Virgin is dressed in a red robe, cut square 
at the neck, where it shows the narrow edging of a cambric under- 
garment, a voluminous cloak of blue lined with green and a blue 
skirt with a gold-embroidered border. Behind her, on the spectator’s 
left, stands St. Francis of Assisi, with clean-shaven face, clothed in the 
gray robe of a monk, and on the right stands St. Dominick, as an 
old man with long gray beard, dressed in a red robe. The background 
is occupied by a landscape of green hills, trees and buildings over which 
rises a cloudless blue sky. The Virgin and the two saints have gilded 
haloes. 


In a contemporary carved and gilded frame. 


Signed in Gothic lettering, “Francta OrEFABER.” 
From Professor Volpi’s Villa Pia, Florence. 


Note: Francia (who, by the way, was a goldsmith, even while one of the 
leading painters of his day, which explains his invariable signature of ORE- 
FABER Or AURIFEX, meaning “goldsmith”) painted this Madonna in 1506 for 
Cardinal Riario, who was titular Cardinal of Damaso. It is this picture to 
which Raphael refers in a delightfully intimate letter to his friend Francia, 
quoted in full by Calvi in his “Life of Francia.” Raphael, after thanking his 
correspondent for the gift of his portrait, which he says “is singularly beauti- 
ful and so life-like that I sometimes fancy myself near you and listening to - 
your voice,” goes on to say: “The Honourable Signor Datary is awaiting 
his little Madonna with great impatience, as is the Cardinal Riario his 
large one.” 

It is this “large one” which, in the year 1515, when Cardinal Riario was 
accused of conspiracy and all his property confiscated by Pope Leo X (one of 
the Medici), found its way into the Vatican. Here it remained until the 
middle of the seventeenth century, when Pope Innocent X bestowed it upon 
one of his intimates, a member of one of the oldest Patrician families of Rome. 
In the palace of this family it hung until its fortunate acquisition, in the year 
1915, by its present owner. 


BURGUNDIAN SCHOOL 
XV CENTURY 


1019—EPISODE IN THE LIFE OF ST. MICHAEL 
(Companion to No. 1020) 


7 00 y,) 


ee Height, 8814 inches; width, 27 1/7 inches 4 ly 


In the center of the immediate foreground of the pichties an archer, 
with a round red cap, a tightly fitting green tunic, and red hose, aims 
an arrow with his arbalest (or cross-bow) at the bull which was under 
the protection of St. Michael and which stands, a solid gold nimbus 
behind its head, at the entrance to the cavern which occupies the upper 
left-hand corner of the picture. (According to the legend this arrow 
was deflected back and wounded the archer.) At his left is his com- 
panion in a purple tunic and blue hose, holding an arrow in his teeth 
and preparing to bend the bow of his arbalest. On the right are two 
cavaliers, holding lances. The one nearer to the spectator, on a white 
horse, wears a green cap, a blue tunic, and red hose and boots; the 
other, on a brown horse, with a purple cap and tunic and a green em- 
broidered surtout of tabard form. In the distance is Barda’s herds- 
man playing his pipes and attending to his herd of cattle. The back- 
ground is of gilded gesso work in a diapered pattern. 


From Professor Volpi’s Villa Pia, Florence. 


ew a 


BURGUNDIAN SCHOOL 


XV Century 


1020—EPISODE IN THE LIFE OF ST. MICHAEL 
(Companion to No. 1019) 


- Height, 331, inches; width, 27.1/7 dae SORT Se 


TuIs picture portrays an ecclesiastical procession issuing from the 
city of Siponto to the grotto of St. Michael’s Bull,’ preliminary 
to the building on this spot of a church dedicated to the Archan- 
gel. In the center stands the Bishop of Siponto in a richly embroid- 
ered episcopal robe, wearing a mitre and carrying in his right hand a 
gold bishop’s crozier. A middle-aged man in a round cap, probably 
Gargan, the owner of the herd which included St. Michael’s bull, 
stands next to him. On the right, and stretching nearly to the grotto, 
where the bull with a gold nimbus stands, stretches the procession 
of Church dignitaries headed by three monks with tonsured crowns, 
one of whom holds a large processional cross. The priests are vested 
in chasubles of varying but always elaborate designs, wear red caps 
and are reading from illuminated missals held in their hands. Behind 
them on the left is a crowd of townspeople behind whom is seen the 
turreted and arched city gate and the red-roofed houses of the city. 
There is a distant landscape and a background of gilded gesso in a 
diapered pattern. 


From Professor Volpi’s Villa Pia, Florence. 


IL GUARIENTO 


Iratian (Papua): —1378 


1021—ST. MICHAEL THE ARCHANGEL 
(Panel) 


ae Height, 33 inches; width, 2114 inches , ‘a 7 

f ol & O- ton ngehiy Vet 
THE Saint at full length, dressed in a close-fitti ag tunic richly em- 
broidered with gold scrolled leaves and trimmed with’ ermine, and 
a flowing white mantle with a border of Saracenic patterning, stands 
in the center of the picture. He has highly decorated and varicolored 
outspread wings, carries in his right hand a long-shafted spear, and 
rests his left upon a curved pointed shield painted with a profile mask 
and scalloped border. The background is of dark blue. 


In an old frame of molded and gilded wood. 


From the Davanzati Palace, Florence. 


SCHOOL OF GIOTTO 
XIV Century 


1022—MADONNA AND CHILD 


Key a 4 
(Panel) cL SO LS yung 
G PS fae Height, 85% inches; width, 161% inches ( 


THE Virgin is seen standing dressed in a red robe with a deep lace 
hem and a blue mantle bordered with gold. The head is bent slightly 
to one side with a pensive expression, and on her left arm, her right 
hand protectingly clasping Him, she holds the Divine Child, clothed 
in a lace-bordered linen garment. He turns His face to the spectator’s 
right, with a look of sober solemnity, as He stretches forward His left 
hand to take a bird offered to Him by a standing agel, one of four that 
surround the Mother and Child. Below, the Virgin and Child are 
flanked by smaller full-length figures of St. John the Baptist on the 
left, and St. Zanobi a bearded man in a bishop’s mitre, on the right. 
All the figures have haloes decorated with dotted patternings, and the 
background is of gold. In an old carved and gilded wood frame of 
tabernacle design. It is flanked by twin spirally fluted columns and 
has a pointed-arch top surrounded by a carved molding with boldly 
scrolled crocketings of pointed leaves and surmounted by a quatrefoil 
medallion occupied by a small painting of a Crucifix flanked by the 
seated figures of the Virgin and St. Mary Magdalene. 


From the Davanzati Palace, Florence. 


PRIMITIVE SCHOOL OF FLORENCE 
XIV Cenrury 


1023—-MADONNA AND CHILD 


; fp er ; 
(Panel) SCE oh ee ahh 
16 52 ob Height, 4014 inches; width, 215% inches 7 

In the center the Virgin, dressed in a mantle of dark blue with a linen 
wimple over her head, sits on a bank of conventional clouds holding 
on her left knee the Child Christ, who turns His chubby face to the 
right as He reaches with His left hand for a fruit His mother 
holds just out of His reach in her left hand. On the left are the 
figures of St. Zanobius, with his episcopal mitre and pastoral staff, 
and an adult St. John the Baptist; on the right, St. Mary Magdalene 
holding a vase of ointment, and below her St. Catherine. All six 
figures have decorated haloes. The background is of rayed gold. 


In a tabernacle-shaped frame of carved and gilded wood. 


From the Davanzati Palace, Florence. 


SCHOOL OF GIOTTO 
XIV Century 


1024—A CRUCIFIXION 


(Panely (7-65 p i 


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es Height, 311% inches; width, 1784 inches 


On the cross, which is surmounted by a Pelican in her nest wounding 
her breast to feed her young, hangs the Christ with haloed head 
drooping forward and nude save for a drapery around his loins. At 
the foot of the Cross, below which is a skull and cross-bones, Mary 
Magdalene, her long flowing fair hair streaming down her shoulders, 
kneels and embraces the wood with both arms. On the spectator’s 
right stands St. Benedict pointing to the wound in his breast, and on 
the right St. Jerome in a monk’s habit and holding the Bible with 
both hands. The background is of solid gold. 


In a tabernacle-shaped frame of carved and gilded wood. 


From the Davanzati Palace, Florence. 


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SANO DI PIETRO 
Travian (Siena): 1406—1481 


1025—MADONNA AND CHILD 


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Ves ce Height, 404% inches; width, 195% inches q 


THE main panel is occupied by a half-length figure of the Virgin in 
a blue mantle, with gold head ornament, holding with her right hand : 
the nude Christ and drawing protectingly over Him with her left 
hand, on the third finger of which is the ring of espousal, a fringed 
shawl. He clasps His right arm around His Mother’s neck, and with 
His left hand clutches the neck of her robe. She gazes at Him with a 
look of rapt adoration and He looks lovingly into her eyes. Above, 
two winged Angels issuing from clouds hold an incised crown above 
the Virgin’s head. The upper panel, of pointed-arch shape, divided 
from the lower one by a band of gilded gesso-work in scrolled design, 
shows a cross on which hangs the Crucified Christ with blood pouring 
from His wounds. The cross is flanked by figures of the weeping 
Virgin on the left and St. Mary Magdalene in a violent contortion of 
grief on the right. The grounds are gilded. 


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Carved and gilt wood frame of tabernacle design, 


From the Davanzati Palace, Fiorence. 


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ANTHONY VAN DYCK 
Fiemiso (Antwerp): 1599—1641 


1026—PORTRAIT OF AUGUSTINE LOMELLINI 
(Canvas) 


es Height, 30 7/10 inches; width, 2434 4 inches 
VOAMWWA “Hoo ANA A_ 

HALrF-LENGTH portrait of an shiete man. He is seen in three-quarter 
face looking towards the spectator’s right and with his closed right 
hand held up in front of him. He has close-cropped gray hair, a curl- 
ing mustache and a pointed beard of gray, and looks out of the canvas 
with a twinkle in his dark eyes and the suspicion of a somewhat quiz- 
zical smile upon his lips. He is dressed in a closely buttoned tunic of 
yellowish gray, with a deep falling collar of white linen, and a mantle 
is thrown in folds over his shoulder. The background is of dark 
yellow with a curtain hanging on the left. The canvas is lettered on 
the back AUGUSTINUS LOMNUS G STEPH OBIIT MDCXXVI ANTONIUS 
VUANDIC BELGA PINGEBAT 1626. 


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In a contemporary carved and gilded wood frame. 


From the collection of the Marquise Elisa Reggio Rostan d’Ancezune of Genoa, 
a descendant of the Lomellini family. 


From Professor Volpi’s Villa Pia, Florence. 


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FRA VITTORE GHISLANDI (FRA PAOLOTTO) 
Iranian (Bercamo): 1655—1748 


1027—PORTRAIT OF A PAINTER 
| (Canvas) 


yA Ue Height, 4544 inches; width, 38 inches / 


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THREE-QUARTER Standing figure of a young man, in full face, the head 
turned over the left shoulder, the left hand resting in an easy posture 
on the hip, the right hand holding a brush. He is dressed in a white 
linen shirt with full sleeves, loose breeches of yellow and a knotted 
yellow girdle. Over his left shoulder is thrown a mantle of vivid red 
lined with yellow. In the lower left-hand corner is an unfinished 
canvas showing the head of a young woman, while on a table in the 
left-hand background are an apple and a loaf of bread. The back- 
ground is of a warm brown. 


From Professor Volpi’s Villa Pia, Florence. 


Note: This painting attracted much attention and commendation at the 
International Exposition of Portraits at Florence in 1911. 


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CRISTOFANO ALLORI (CRISTOFANO BRONZINO) 
Irauian (FLorence): 1577—1621 


1028—FOOTBALL IN FLORENCE 


(Canvas) 
G ok hides Height, 451% inches; width, 331 inches lan 
eG e OTA 5, LAA Ae AG er 41/4 


View of the Piazza Santa Croce in Florence, with a game of football, 
“Giuoco del Calcio,” in progress. In the center of the picture the 
Gheps some fifty in number, occupy the center of the Piazza. They 
are divided into three groups of about ten, with the others disposed in 
a circle around, and are all dressed in tight-fitting jerkins, knee- 
breeches and plumed caps. Around them in close ranks sit the spec- 
tators, at the back against the walls of Santa Maria del Novella in a 
grand stand, while on the right-hand side ladies crowd all the windows 
of the palace facing on the Piazza. In the foreground on the right 
are cavaliers in exaggeratedly decorative suits of classic armor, in 
the center are three figures of jesters, while on the left are seen the 
halberds of the guards who keep the spectators in order. 


From the Davanzati Palace, Florence. 


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PARIS BORDONE 


Irauian (VeENtIcE): 1500—1570 


1029—LA BELLA 


(Canvas) 
Height, 421% inches; width, 354 inches. yy : 
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Tat favorite model of Bordone, “La Bella,” of whom this is a por- 
trait, appears in many of his compositions. Here she is seen at three 
quarters length, seated with her head bent forward, gazing at the 
spectator with an inscrutable look in her brown eyes. She wears a 
loose gown of dark flowered silk and a white under-garment, but 
these have so fallen as to expose her entire bosom. She rests one 
bare arm on a support on the extreme right of the picture, and her 
left arm hangs listlessly by her side, the hand holding a spray of 
flowers which she has evidently taken from the basket on the table on 
the picture’s left. Her abundant red hair, loosely twisted, is inter- 
twined with a string of pearls, a long necklace of which hangs around 
her neck. ‘The background shows part of a Venetian hallway of 
marble. 


In an old frame of carved and gilded wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: This picture was painted by Bordone about the year 1535, and 
came direct to its present owner from an important private collection in Italy. 


SCHOOL OF GIOTTO 


ALESsANDRO (XIV CEnrury) 


10830—MA DONNA AND CHILD My ie a 
(Panel) Sh Arberger esis 


I ae Height, 57 inches; width, 2714 inches ( 

SEATED figure of the Virgin in a blue mantle lined with red. She holds 
on her left knee, with her left hand, the standing Child Christ, clad in 
a flowing robe with scalloped border confined by a girdle at the waist, 
and looks into His face with an artless expression of adoration while 
she raises her right hand in the act of benediction. Mother and Child 
have haloes of gilded gesso-work, and above, two angels with haloes, 
in robes of red and blue, supported by clouds, hold over the Virgin’s 
head a crown of gilded gesso-work. The upper background is of solid 
gold, with a dado below. In a carved and gilded wood frame with 
pointed-arch top carved with crockets of scrolled leaves and flanked 
with pilasters having molded capitals. On the plinth below is painted 
in gold on a painted ground the inscription, “Ave Maria gracia,” 
flanked by. two painted coats-of-arms, one being of the Strozzi family, 
for whom the picture was painted. 


From the Davanzati Palace, Florence. 


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FRANCESCO ALBANI 

Iratian (Botoena): 1578—1660 
1031—BACCHANALIAN SCENE i a 
(Canvas) OU (darvet geet 
O04 Height, 51 2/3 inches; width, 41 1/3 inches , ( 


In the center of the composition an inebriated Bacchanalian reveller 
lies upon the ground, his mouth, into which two Cupids are pouring 
wine from a skin supported between them, being kept open with her 
finger by a Nymph who, the upper part of her body bared, leans over 
him as she lies reclining at his side. To the left another Nymph, stand- 
ing upright, her one loose garment fluttering in the wind, plays a tam- 
bourine, while a younger girl at her side endeavors to attract her 
attention to the Bacchanalian group. On the extreme left a young 
Satyr, leaning his right elbow upon a wine jar, plays his Pan’s pipes. 
In the background is a well-painted open landscape. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


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FRANCESCO ALBANI 
Irattan (Botoena): 1578—1660 


10832—PASTORAL SCENE 


(Canvas) 


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Aan ie Height, 51 2/3 inches; width, 41 1/8 mches 


Unoper the shade of a spreading tree on the left a shepherd, clothed 
in a garment of skins, sits playing upon a tibia or pastoral pipe. 
Lying at his feet, and listening to him, are two Nymphs, one, with 
her back to the spectator, being embraced by the right arm of the other, 
who sits upright, holding out a flower to the musician. In the left- 

_hand corner of the picture are three Amorini, sporting with each other, 
and some grazing goats. The background is a landscape, with a group 
of temple-like buildings in the middle distance, and a mountain range 
on the horizon. 


In an old frame of carved and gilded wood. 


From Professor Volpi’s Villa Pia, Florence. 


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DOMENICO THEOTOCOPULI (EL GRECO) 


(ITALIAN PERIOD) 


SpanisH (Toreno): 1545?—1614 


1083—_THE ADORATION OF THE MAGI - 


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Height, 52%4 inches; length, 88°4 inches 


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ON the left, under the eaves of a rude hut erected among the ruins 
of a classic temple, the Virgin in a blue and red robe sits, holding the 
nude body of the Infant Christ and bending over Him in an attitude 
of maternal solicitude. At her back St. Joseph leans forward with 
his eyes fixed upon the Divine Child. To the right, in front of the 
Virgin, one of the Magi bends forward in an attitude of almost abased 
adoration. More to the right are seen the other two Magi and atten- 
dants in charge of the travelers’ horses and camels. 


From Professor Volpi’s Villa Pia, Florence. 


Note: This picture resembles in general conception and composition one 
by the same painter which is now in the Imperial Museum in Vienna. 


BERNARDO DADDI 


Traian (Fiorence): 1290 


1350 


1034—TRIPTY CH 


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J3t7 —— Height, 48 inches; length, 5434 inches 


In the center the Virgin, seated and dressed in a blue mantle, holds the 
Infant Christ on her lap. The side wings are occupied by figures of 
St. Zanobius and St. John the Baptist. The backgrounds are of gold. 
The triptych is in a contemporary frame of carved and gilded wood: 


Note: Owing to its late arrival, it was unfortunately impossible to illus- 
_trate this briefly described triptych, painted by Daddi, the ablest of Giotto’s 
pupils. It is one of the most important of the Davanzati primitives. 


From the Davanzati Palace, Florence. 


PRIMITIVE SCHOOL OF FLORENCE 


XIV CEentTuRY 


10835—M A DONNA AND CHILD 
(Panel) . , J q 


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i 150 Height, 418% inches; width, 251% inches — 


Tue Virgin holds the Infant Christ, standing, upon her lap and smiles 
down at Him seraphically as He reaches out His hand to grasp a bird 
handed to him by one of the four angels who hover around His Mother 
and Himself. Two of the other Angels hold vases of flowers. Below, 
kneeling upon a golden pavement richly decorated, are St. John the 
Baptist and St. Zanobius, the fifth century patron Saint of Florence 
The background is gilded. 


Framed in a tabernacle decorated with composition bas-reliefs and flanked 
by spirally fluted columns surmounted by Gothic fléches. 


From the Davanzati Palace, Florence. 


LUCA SIGNORELLI 
Iratian (Cortona): 1441—1528 


10386—INCREDULITY OF ST. THOMAS 


(Panel transferred to canvas) Ly she Sia 
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Mie Ct Height, 571% inches; width, 5814 inches 


THe center of the picture is occupied with the figures of Christ and 
the doubting Apostle St. Thomas. The Saviour, on the spectator’s 
right, stands with uplifted right hand, His long fair curls falling over 
His shoulders, while from His body, bared to the waist, have slipped 
downwards the dark outer robe and the inner tunic of white. With 
head inclined slightly downward and forward, He seems to invite 
to the wound in His side the attention of St. Thomas, who, clad in 
a loose robe of green and red, stands on the left-hand side of the 
picture, bending forward and touching his Master’s wound with hesi- 
tating fingers. Around are grouped in various attitudes the Apostles; 
St. John, with fair curls, on the left; St. Peter, with white beard, in 
the background. In the lower right-hand corner is seen the kneeling 
figure of the Donor, or “Comitente,” as the Italians call the patron 
who commissioned the picture. In this case he was Count Tommasi 
of Cortona and is dressed in a black robe, his face seen in full profile, 
while his hands are pressed to his bosom in an attitude of adoration. 
In the extreme background is seen the corniced doorway of a classic 
building. 


From Professor Volpi’s Villa Pia, Florence. 


Note: This admirable picture is mentioned and described by Signor Giro- 
lamo Mancini in his standard “Life of Luca Signorelli” on page 192 of the 
Carnessechi Edition of 19038. It originally hung in the Duomo of Cortona, 
but was removed in the seventeenth century to the Villa at Cortona of the 
donor’s descendant, Count Tommasi, whence it came to the present owner. 


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DOMENICO BECCAFUMI 
Iranian (Siena): 1486-1550 


1037—_HOLY FAMILY 
(Panel) 


RCA TD ae Diameter, 64 2 /5 inches 


T'HE center of this tondo is occupied with the figure of the seated 
Virgin, in full face with downcast eyes, and an expression of serene 
humility. She is dressed in a gathered robe of light red and a flowing 
mantle of light blue, and with her left hand holds in her lap the Infant 
Christ, who, completely nude, is almost escaping from her arms as 
He reaches forward to turn the leaves of an open book held up for 
His inspection by the bearded saint on the spectator’s right. On the 
left St. Joseph, at the Virgin’s side, supports the Infant St. John 
the Baptist, who, also nude, holds in his right hand a cup which he 
supports on his knee. The background is architectural in character. 


The picture, which has for long been reputed by Italian critics to be 
Beccafumi’s masterpiece, is in its original frame of carved and gilded wood, 
a masterpiece of Barrilli, the most famous of all Sienese sculptors in wood. 
Around the circumference are disposed, at regular intervals, four circular 
beaded medallions occupied with heads in high relief. Between these is a broad 
border enriched with gryphons’ bodies ending in bold scrollings of leaves and 
flowers carved in high relief. There is an inner border of egg and dart molding 
and an outer one of trefoiled patterning. The four spandrels of rich acanthus- 
leaf carving, which make a square of this circular frame, were added in the 
seventeenth century. The entire frame is of wood and gilded. 


From the collection of Marquis Spinola, Palazzo Bianco, Genoa. 


From Professor Volpi’s Villa Pia, Florence. 


PRIMITIVE SCHOOL OF SIENA 
XIV Century 


1088—TOBIAS AND THE ANGEL 


(Panel) 
oak Height, 65%4 inches ;,width, 291% inghes __, 
Th IC 2 ee 


THIs primitive rendering of what was, for centuries, to be a favorite 
pictorial incident, shows the Angel, with widespread decoratively 
treated wings and gesso-worked halo, clad in a red robe richly brocaded 
in gold with a patterning of pomegranates and leaves, with tight- 
fitting sleeves, and a blue mantle knotted across his breast, holding 
by his right hand the boyish Tobias, who, bareheaded, is clothed in a 
full-skirted tunic of light green, with hose, and a cape buttoned at the 
neck. In his right hand he holds the symbolic fish of the legend. 
Below, on the left, are the figures of the donor kneeling, of his wife, 
holding up their child, and of a female relative. The panel is round- 
arched, terminating in a pointed gable enclosed by a crocketed mold- 
ing, with its tympanum occupied by a circular medallion painting of 
God the Father holding up His right hand in benediction and clasping 
in His left an open book, the pages of which are inscribed with the 
sacred Alpha and Omega. The plinth below is painted with a deco- 
rated band of scrolled floral and foliage design. 


From the Davanzati Palace, Florence. 


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PRIMITIVE SCHOOL OF FLORENCE 


Earty XIV Century 


1089—_CH ANCEL CROSS 
(Wood) 
Gf pe Ate Height, 76°, inches; width, 661 igtches 


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F'LorIATED cross of wood, with molded border and four quatrefoiled 
arms, the points terminating in wooden roundels. In the center of the 
cross is painted a crucifix; the crucified Christ, with dotted halo, His 
head with its crown of thorns and long curls of hair, hanging forward 
over His right shoulder. Blood spurts from the wound in His side 
and drips from His nailed hands and feet. ‘The pointed quatrefoiled 
medallions on either side are occupied with half-length figures of the 
Virgin, with blue mantle and stretched out hands, and St. John dressed 
in a loose linen robe. The quatrefoiled base is occupied by a half- 
length figure of St. Mary Magdalene, with long curling fair hair and 
upraised hands. The ground behind the cross and the figures of the 
saints is of gold worked in a dotted and incised pattern. 


From the Davanzati Palace, Florence. 


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PRIMITIVE SCHOOL OF TUSCANY 


Earty XV Century 


1040—SAINT PAUL 


(Panel) 
ieee Height, 921, inches; pwidth, 35 inches 
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FULL-LENGTH figure, life size, df Saint Paul, in owing robes of light 


red with a green tunic. He is shown in full face, as a man of middle 
age partially bald, with curling hair, slight beard and mustache. In his 
right hand he holds a drawn sword, and in his left a book with metal 
clasps. On the front of the plinth on which he stands are painted small 
figures, dressed in long robes of worshippers kneeling in adoration. 
The panel is pointed, with a pointed tablet at the apex inscribed “S,” 
while below is a horizontal label in two divisions inscribed “P A V” 


and “LV S”. The background is of solid gold. 


In original molded wood frame. 


From the Davanzati Palace, Florence. 


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SPINELLO ARETINO 
Trarian (AreEzzo): 18382—1410 


1041—SAINT ANTHONY 
( Panel) 


if rer Bs Height, 90% inches; width, 357, inches fo Z ; 
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Lire-sizep figure of St. Anthony, seen in full face ‘As an old man 
with long curling gray beard, dressed in a loosely fitting robe of 
grayish white with black shoulder mantle and black cassock beneath. 
Around his head is a gilded halo of gesso-work. He is shown sitting, 
holding in his right hand his pastoral staff, with dragon-headed crook, 
while his left rests upon a closed book supported on his left knee. 
Above him two winged angels with gold haloes hold out a richly 
brocaded curtain which forms a background to the Saint. His feet 
rest upon an octagonal base with plinth painted in a Greek key- 
pattern. Below this is the inscription in Lombardic characters, “S. 
ANTOGNIUS. ABBAS”, while on either side are the miniature 
kneeling fiures of the Donor and his wife, the former on the left in a 
loose robe, the latter on the right with her fair hair braided and her 
pet dog at her side. The panel has a pointed-arch top with pointed 
gable above, in the tympanum of which is a trefoiled medallion paint- 
ing of Christ. The outer frame is of carved molded and gilded wood, 
the upper part formed as a trefoiled pointed-arch with interlaced 
medallions of figures in the spandrels. 


From the Davanzati Palace, Florence. 


TIZIANO VECELLI (TITIAN) 


Iravian (VENETIAN): 1477—1576 


*1042—PORTRAIT OF A VENETIAN LADY 


(Canvas) 
a4 °— Height, 41 inches; width, 382 inches ,~ y 
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THE subject is seen in three-quarter length, the face jnclined slightly 
towards the spectator’s right. In her hands, raised to the level of 
her shoulders, she holds a silver repoussé dish heaped with pomegra- 
nates and other fruits, similar to that shown in the preceding picture. 
She wears a voluminous camicia, or under-garment, of fine white linen 
with thrown-back sleeves, confined by a bodice of dark brown laced 
across the front, a girdle of pink satin around her waist, and a skirt 
of light tan-colored satin. In her blond hair is twisted a rope of pearls, 
in her ears are pearl drops and around her neck a pearl necklace, while 
on her wrists are heavy gold bracelets. The background is entirely 
occupied by folds of red drapery. 


In an old frame of gilt wood. 
From Professor Volpi’s Villa Pia, Florence. 


Note: This and the Lavinia, among the most important of Titian’s pic- 
tures, were painted, between 1545 and 1550, for the dining-room of Cardinal 
Archinto, Archbishop of Milan. For this Cardinal, Titian also painted two 
portraits, both of which are in America, one in the Altman Collection at the 
New York Metropolitan Museum of Art, the other in the collection of Mr. 
J. G. Johnson in Philadelphia. The portraits of the Cardinal and the two 
paintings now under consideration were left by the Cardinal on his death to 
his estate, and by his descendants were kept and carefully concealed, no one 
knowing of their existence until the family decided to sell them privately, and 
one at a time. 

Titian painted two other portraits of Lavinia, one, as a Salomé, being 
now in the Museum in Berlin. The other model was not elsewhere painted by 
Titian, though it is noteworthy that the unknown lady bears a dish of fruits 
almost exactly similar to that shown in the portrait of Lavinia. 

It remains to be said that these two paintings have received the unquali- 
fied and independent endorsement, as being original works by the master, 
of such acknowledged experts and critics as Mr. F. Mason Perkins, Mr. Her- 
bert P. Horne and Mr. Charles Loeser. Thus Mr. Mason Perkins writes: “I 
consider the two canvases representing half-figures of women bearing plates 
of fruit to be original paintings, in excellent condition, by Titian.” Charles 
Loeser writes: “I know well two Titians, half-length female portraits bearing 
salvers of fruit, admirable examples in the Master’s own hand and in fine 
preservation,” and Professor Luigi Cavenaghi, of the Brera Museum, gives 
it as his opinion that “these pictures are undoubtedly originals by Titian, 
while the Lavinia is the first representation of this subject painted by the 
Master.” 


2 


TIZIANO VECELLI (TITIAN) 
Iranian (VENETIAN): 1477—1576 


*1043—LAVINIA, DAUGHTER OF TITIAN 
(Canvas) 


Height, 4284 inches; iuches e 
ah, 254 inches; woprBaUTiphes | gah 


Tue daughter of the artist is seen, at three- -quarter length and in 
side view, holding aloft, with both arms, the right hand being grace- 
fully extended, a repoussé silver dish heaped with pomegranates and 
other fruits. Her robe, with a tight-fitting bodice and a plaited skirt, 
is of dark brown velvet striped in a lighter tone of the same color, and 
around the waist is a gold and jeweled girdle. From her shoulders 
fall folds of a cambric undergarment, the frilled edge of which shows 
above the back of the bodice. Thrown over the shoulders, also, is a — 
diaphanous veil of white. Her fair hair, brushed back from the fore- 
head, is confined by a jeweled head-dress, from her ears hang large 
pearl drops, and her wrists are encircled with bracelets of gold and 
precious stones. Two-thirds of the background is occupied with a rich 
maroon-colored curtain, while through an open window to the left 
is seen a wide-spreading landscape, with hills and a blue sky. 


Contemporary frame of carved and gilt wood. 


From Professor Volpi’s Villa Pia, Florence. 


HOUSEHOLD LINEN, TABLECLOTHS, SHEETS AND TOWELS 
OF AN ITALIAN RENAISSANCE PALACE 


Linen sheets and tablecloths, pulow cases and towels, which 
Professor Volpi laboriously gathered together in order to complete 
his reproduction, in the Davanzati Palace, of an Italian home of the 
sixteenth century, make an impressive showing. It was in Italy that 
the graces and luxuries of every-day life were first developed and from 
her that the rest of Europe borrowed the use, not only of such minor 
essentials as the table fork, but of linen bed sheets, tablecloths and 
towels. 

It was in accordance with Cinquecento Italian determination that 
art should enter even into the most insignificant details of common 
life, that we find this ordinary napery made beautiful by the deft in- 
troduction thereinto of fine laces, cunning drawn-work, or even of a 
woven ornamentation. Nor should it be forgotten that we owe their 
preservation to the present day mainly to the integrity and fidelity 
with which the linen itself was woven. 


H. T. 


SEVENTH AND LAST AFTERNOON’S SALE 


TUESDAY, NOVEMBER 28, 1916 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


Catalogue Nos. 1044 to 1215, inclusive 


DAVANZATI PALACE: LINENS 


1044—S1xTEENTH CENTURY VENETIAN NIGHT-B 
Rectangular shape. Covered in fine white linen decorated in 
ron drawn work with a design of fantastic animals. 


Length, 1 foot 6 mches; width, 1 foot 2 inches. 


; Y ya) 
1045—Two SixTrentH Century ITALIAN Gustionn Kiri 
Rectangular shape. Covered ina fine white linen, embroidered, 
in red silk and gold thread, with a floral design. 


Length, 1 foot 9 inches; width, 1 foot 3 inches. 


oo 7 oe 


ete} tie 

¥Vte0 ie 16 - Cprtreg 

1046—Turer SixreENTH CenTURY ITALIAN CUSHIONS ; 
Rectangular shape. Covered in fine white linen, embroidered, 
in green and red silk and gold thread, with a floral design. 


ess 0 = Length, 1 foot 6 inches; width, 1 foot 2 inches. 


( 


SCA /} ri 
Aer Lo ng (arr 4 


1047—FrerrentH Century Umprian SMALi TABLECLOTH 
Rectangular shape Of fine white linen, with a deep border 
ye embroidered in red silk and a fringe of gold thread. 


0 
( 0 Length, 2 feet 11 inches; width, 2 feet 8 inches. 


Ves PY. X. Keu411r9 


a f 
Agr us 


\ 


JAS 


ean : af 
Marr: Sartraw we 
1048—SIxTEENTH CENTURY ITALIAN Hanp-TrowrEL 
~- 7+ °2— Rectangular shape. Of linen, bordered at the ends with 
bat Modano point and fringed. 


Length, 3 feet 5 inches; width, 2 feet 5 inches. 
\ > 
A Nase: - 
Kre &- (* hynny 
1049—SIXTEENTH CENTURY ITALIAN HAND-TOWEL 
= Rectangular shape. Of linen, bordered at the ends with 
“Oo ‘ ° 
9 —— Modano point and fringed. 
Length, 3 feet 7 inches; width, 2 feet 51 inches. 
4) a ~ Aas es, / 
thro- yA ent (onan 
1050—SEVENTEENTH CENTURY ITALIAN Sma TABELCLOTH 
Rectangular shape. Of fine white linen, with border and 
VG) ee CINE: 
Length, 2 feet 9 inches; width, 2 feet 6 inches. 
A) Pp oa ) 
[Vinnie Vee 
1051—SEVENTEENTH CENTURY ITALIAN SMALL TABLECLOTH 


Rectangular shape. Of fine white linen, with border and fringe. 


- é 
Pte ages, Be 
es 


Length, 3 feet 3 inches; width, 2 feet 2 inches. 
of . / [ ‘ff A 
Vn AA aD AAVVKDAL 
1052—S1xTEENTH CENTURY ITALIAN TABLECLOTH 
Rectangular shape. Of fine white linen, with border. 
Meee Ke Length, 3 feet 5 inches; width, 2 feet 1 inch. 
eee 
Vrne- QF TV ee Mepargry 
1053—SEVENTEENTH CrEntTuRY Iratian Lack FLounce 
Flounce of Milan point lace in a design of leaves and flowers. 
OF oi S— Length, 2 feet 11 inches; width, 2 feet 8 inches. 
; 5 
WAR é L x: Cort, ey 
1054—SEVENTEENTH CrNntTURY ITALIAN PILLOW 3 
Rectangular shape. Of fine white linen, with a bordéring of 
+6 “— Venetian point lace of geometrical design. 


Length, 3 feet; width, 1 foot 8 inches. 


1055—SEVENTEENTH CENTURY ITALIAN TABLECLOTH 
Rectangular shape. Of fine white linen, with border and 


thread fringe. ¢1 Coe aa 
Length, 8 feet 114 inches; width, 2 feet 11% inches. 


By a 


VA An a mY) 3 By ae f C 
/ L 19: WVU YRAS (CC 
1056—SrixTEENTH CrentTuRY ITatIAN LineN TasLecLoTH 
Rectangular shape. Of fine white linen, bordered at the ends 
£932 with Modano point lace and fringed. 


Se 
‘ 
Length, 4 feet 1 inch; width, 2 ste 3 ghee: 


A 


Pi ag ae 
1057—SrxtrentH Century ITALIAN ttt ace a Le EE A ae 
Rectangular shape. Of white linen, with deep border ‘ee 

; 9 fe drawn work in a small design. 
Length, 4 feet 5 inches; width, 2 gs Us EMS 


A 


Wynn. Po os or Apes 
1058—S1IxTEENTH CrentTuRY ITALIAN TABLECLOTH fis 
Rectangular shape. Of fine white linen, with insertion and 


ee 12. bordered with lace. 
5 Length, 4 feet 11 inches; width, 2 feet 6 inches. 


A" AK 


VW-V~ FL frriawy ~ Agen A 
1059—FirrrentH Century Iranian TABLECLOTH 
ee ( 
Rectangular shape. Of fine white linen, with a bordering of 


é | not Modano point lace. 
: Length, 4 feet 8 inches; width, 2 feet 5 inches. 


<a / fi VW | aa CE 
1060—SIxTEENTH CENTURY ITALIAN Hoses UcHytae ’/ BMA 


Rectangular shape. Of white linen, with insertion and a small 


S38 Fo iringe. 
Length, 4 feet 51% inches; width, 2 feet 14% inches. 
4 GE, 
1061—FirrentH Century UMBriAN ieee oe Nie VOI. se ae 
Of white linen, with border woven in blue. 


Rectangular shape. | 
+ i Length, 4 feet 9 inches; width, 1 foot 6 inches. 
Wark Neo 
1062—FirreentH Century Umprian Hanp-TOWEL aa LA-~7 
Rectangular shape. Of white linen, with border woven in blue 
, ¢—with a design of fantastic animals. 


ee ¢ 
Length, 4 feet 9 inches; width, 1 foot 7 inches. 


# Ae Warty ve 
1063—SEVENTEENTH CuntTuRY ITALIAN TABLECLOTH 
—., Rectangular shape. Of fine white linen, with a cut-work border 
> /— and lace fringe. 
Length, 5 feet 1 inch; width, 3 feet 11 inches. 
WWreo- we (Y. WWryrrg 
1064— SEVENTEENTH Century Iranian TasieciotH 
Rectangular shape. Of fine white linen, with a border of cut 
gue ai work. 
Length, 5 feet 1 inch; width, 3 feet 11 inches. 
—_ Jf 
1065—SIxTEENTH CENTURY Itattan Linen TAasLectori 
Rectangular shape. Of fine white linen, bordered at the ends 
ae with Modano point lace and fringed. 


Length, 5 feet 8 inches; width, 3 feet 114 inches. 


NWwartn 


1066—SIXTEENTH CENTURY ITaLIAN HaAND-TOWEL 
Rectangular shape. Of fine linen, with lace borders. 


es — Length, 5 feet 61% inches; width, 2 feet 814 inches. 


Z / 
1067—F IFTEENTH CENTURY UmBRIAN TABLECLOTH 


Rectangular shape. Of white linen, with border, woven in blue 


with a design of fantastic animals. 
cee 


lo © Length, 5 feet 9 inches; width, 1 foot 9 inches. 


Q ff W/ ty ; 
Mihbatnc VWartiu 
1068—SIxTEENTH CENTURY ITALIAN TABLECLOTH 
Rectangular shape. Of white linen, bordered at the ends with 
, «& Modano point lace and a small fringe. 


o V 


Length, 5 feet 81 inches; width, 8 feet 11% inches. 
5 may, 
IV -Viy- fo Ugen L 
1069—S1ixTEENTH CrEntTury ITALIAN TABLECLOTH 


Rectangular shape. Of fine white linen, bordered at the ends 
a <-es_— with a deep band of Modano point in a design of animals and 
(- with a narrow fringe. 


Length, 5 feet 934 inches; width, 8 feet 11% inches. 


He 
Wnres (OOF: Sug Age 


1070—Sixrrentn Cenrury Venetian Lace Taser aan 
_ Rectangular shape. Of Venetian point lace, in a design of V/ 
YY] 4 “small squares filled with attending designs and with a deep 
border and fringe. 


Length, 5 feet 1114 inches; width, 4 feet 2% inches. 


1071—TWENTY-sEVEN EIGHTEENTH CENTURY emg HAnp- , 


oes TOWELS Gad Ww, fe Ke LANA pp ree es 
HL9 — Rectangular shape. Of white linen, bor dered with lace an 
fringe. v 


Various sizes. 
L a “—— 
1072—SixTEENTH CENTURY VENETIAN Lapy’s Pi hasta Ape 
Under-garment of fine white linen, hemstitched around the neck 
OAT ee ‘— and on the shoulder, with bands of varicolored crocheted lace 
finishing off the sleeves. 


Nichole Marto 
1073—SrxteentH Century Irauian Lapy’s Smock 
Under-garment of fine linen, with nies and hemstitching around 


is 0 qe = the neck. 


(s 
ty 
1074—SixTEENTH CrntTuRY VENETIAN’S Lapy’s SMocK 
Under-garment of fine white linen, embroidered around the 


neck. 
x aes Pics 


as 


1 a ay [d , Vi) 
1075—FirreentH Century UMBRIAN eae: Soe nN centage: 
Rectangular shape. Of white linen with a woven border of 
ee te blue design of figures of animals and Gothic letters. 

Length, 6 feet 2 inches; width, 1 foot 7 inches. 
fe 
Wired RG Se Ng wrt 
1076—FirreentH Century Umprian TABLECLOTH 4 7 
Rectangular shape. Of white linen with border, woven in blue 
with a design of fantastic animals. 


| Se sod 
ry w) ; ; ‘ 
Length, 6 feet 2 inches; width, 1 foot 9 inches. 


\ 


fp 
Meds WN Moa gud 
1077— FIFTEENTH CENTURY UmBrRIAN HAND-TOWEL 
Lae Rectangular shape. Of white linen, with border woven in 


ihc a blue with a design of fantastic animals. 


Length, 6 feet 2 inches; width, 2 feet. 


OQ: uderr_tygow 


1078—F IrTtrENTH CENTURY nents SMALL TABLECLOTH 
Fy Rectangular shape. Of fine white linen, with border woven in 
tees blue in a design of fantastic animals. 


Length, 6 feet 6 inches; width, 2 feet. 
aN /f) 
1079—SEVENTEENTH CENTURY ITALIAN Hanp“TOWEL 
Rectangular shape, bordered with Modano point lace. 


Ces 
ies Length, 6 feet 6%4 inches; width, 2 feet 414 inches. 
Trg (0: 00- lew) gat 
1080—SEVENTEENTH CENTURY ITALIAN TaBLECLOTH / ( 
Rectangular shape. Of fine linen, with borders of a foliage 
on 


, ¢4_ design in Modano point. 
( ¥ 


Length, 6 feet 6°4 inches; width, 2 feet 414 inches. 
A 


Fon 2 / vf) ; IA > ’ 
Caibpptar VW gtr 


1081—SEVENTEENTH CENTURY ITALIAN TABLECLOTH 


Rectangular shape. Of fine linen, bordered with Modano point 
, «-od_ lace and fringed. 


Tonnes 6 feet 6° inches; width, 8 feet 31% inches. 


Khynrs: 4. mM. MV Lae Ne 
1082—SEVENTEENTH CENTURY ITALIAN TABLECLOTH 
Rectangular shape. Of fine linen, bordered with Modano point 
-¢-__ lace and fringed. : 


Length, 6 feet 684 inches; width, 3 feet 31% inches. 
ve: Y [ (e 
Vines ¢ L a eae, Ud Av 
1083—SIxXTEENTH CENTURY ITALIAN LINEN SHEET 


ares, Rectangular shape. Of linen, with lace border and fee at 
ad eee SONPEENG: 


{ 
/ 


Length, 6 feet 11 inches; width, 5 feet 1 inch. 


B ne We ee 
lr ; ) ‘ ' VAL 
lf VAAo VU% Kirin. “WF L 
1084—-SIxTEENTH CENTURY VENETIAN LacE TaBLE COVER | 
is Rectangular shape. Of Venetian point lace, in a design of 
i Do ‘<_small squares of alternating designs. Finished with a fringe. 
Length, 6 feet 3 inches; width, 5 feet 7°34 imches. 
Vit - ( AA LA. (AN Anne KL4_ 
1085—FirTrEENTH CENTURY UmBriAN HAND-TOWEL 
Rectangular shape. Of white linen, with a border, woven in 
uf 7 3p — blue in a design of figures of animals. 
Length, 7 feet 4°34 inches; width, 2 feet 3Y2 inches. 
BD 
YVNwW-~ ae | * TiAl Ze te 


1086—SIXTEENTH CENTURY ITALIAN Aurar CLori ( 
Rectangular shape. Of white linen, with insertion and a thread 


ag fringe. 
Length, 7 feet 2% mches; width, 2 feet 814 inches. 
ED (\ if 
1087—SIXTEENTH CENTURY ITALIAN TABLECLOTH VU s Nrtrirte 


Rectangular shape. Of fine white linen, with insertion and 


y 4 ~——Iringe. 
Length, 7 feet 2 inches; width, 2 feet 11 inches. 


1088—SixTEENTH CENTURY VENETIAN ‘'l'ABLECLOTH 
Rectangular shape. Of fine white linen, with narrow border 
and six rows of Gothic stitch in a “fogliamo” patterning with 
voto ; figures of animals worked in red silk. 
Length, 7 feet 34 inch; width, 8 feet 3% inches. 


~ 
1089—FirrrentuH Century Umprian TABLECLOTH Be -( Mt_g@wre Oyun 


Rectangular shape. Of fine white linen, with a border woven 
43 “in blue in a design of fantastic animals and geometrical pat- 


terning. 
Length, 7 feet 8 inches; width, 3 feet 7 mches. 
fe f) \ 
1090—SrxrrentH Century IraLtiaAn SILK COVERLET Kit -—— 


Bed coverlet of yellow silk woven with a foliage design in/ red. 


Length, 7 feet 101 inches; width, 3 feet TV inches. 


1091—SixtEentH Century Ira Linen Suter 
Rectangular shape. Of fine white linen, with fringe and in- 
/O 5 ‘+ sertion border. 


Length, 7 feet 10% inches; width, 5 feet 834 inches. 


Py 1 {r 
1092—SIxTEENTH CENTURY ITALIAN Linen SHEET 
| Rectangular shape. Of white linen, bordered with Modano 
/O-¢ ‘— point lace and fringe. 


Length, 7 feet 9 inches; width, 5 feet 8 inches. 


Wie Th © ype 


1098—T'irrrENtH Crentury Umprian TABLECLOTH 
Rectangular shape. Of white linen, with border, woven in blue, 
5 5S with a design of fantastic animals. 


Length, 8 feet 6 inches; width, 2 feet 8 inches. 


ree 


1094—F'IrtEENTH CENTURY Umpri Tasteqtori 
Rectangular shape. Of fine white linen, with border, woven in 
A747 4% blue, with a design of animals and geometrical patternings. 
Vs = 


Length, 8 feet 7 inches; width, 2 feet 5 inches. 


Was VOI Nour 
1095—SIxTEENTH CENTURY IratiaAn Linen SHEET / (/ 


Rectangular shape. Of white linen, with insertion. 
Y 0 ec Length, 8 feet 7 inches; width, 6 feet 8 inches. 
WC Vie 
1096—SixtrentH Century Trarian (LINEN SHEET 
Rectangular shape. Of fine white linen, with border of in- 


) “> sertion. 
Length, 8 feet 21, inches; width, 7 feet 21% inches. 


1097—SIxTEENTH CENTURY ITALIAN LINEN SHEET 


/ / 
Rectangular shape. Of fine white linen, with fringe alad inser- 
/uf g tion border. 


i Length, 9 feet 10 inches; width, 6 feet 834 inches. 


4’ (\ 


Me iPS eget 

1098—SixtrentH Century Iranian Linkn SHEET eel 

fs oud Rectangular shape. Of fine white linen, with fringe and inser- 
Y tion border. 

Length, 9 feet 10 imches; width, 6 feet 834 wmches. 


} fo) 
NALA we eae d QZ 


[V0 - VAAN hte 
1099—SIXTEENTH CENTURY ITALIAN LINEN SHEET 


Rectangular shape. Of fine white linen, with a border em- 
/ / j °*—-roidered in yellow silk and a yellow and white fringe. 
Length, 9 feet 334 inches; width, 6 feet 1144 inches. 


y, 
ie 


KINA. Ak ly taki 
1100—StIxTEENTH CENTURY ITALIAN Liven SHEET 


Rectangular shape. Of white linen, with ihsertion. 


Length, 9 feet 2 inches; width, 6 feet 10 mches. 

| 2 Vt ( LL 
[Onidy U u 

J101—SrxTeentH Century ITALIAN LINEN SHEET a 
Rectangular shape. Of fine white linen, with a fringe ddd 
border embroidered in a cross-stitch patterning in blue silk. 


o//’— 
: Length, 9 feet 244 inches; width, 7 Bee 41%, inches. 


I}. 4S ASS ae 
1102—SrxterentH Century [rarian LINEN HEET 
Rectangular shape. Of fine white linen, with fringe and in- 


». _ sertion border. 
[3d eas Length, 9 feet 6 inches; width, 7 feet 4% inches. 


ALY, Af Nef oe 


1103—SixrrentH Century Iranian Linen SHEED ” 
Rectangular shape. Of fine white linen, with fringe and in- 


sertion border. 
/ f 5 ii ee Length, 9 feet 6 inches; width, 7 feet 6Yy inches. 


Yl- MH Vd, nr 
1104—SixTrentH CENTURY SICILIAN ALTAR Créer 
Rectangular shape. Of fine white linen, with borders em- 
broidered in a foliage design, in red. 


ve 
// pet pore Length, 10 feet 2 inches; width, 2.feet 6 inches. 


y/| n je are 
Nicht (V\ grrr 
1105—SIXTEENTH CENTURY ITALIAN LINEN SHEET 


Rectangular shape. Of fine white linen, with a border em- 
5 ~~ proidered in blue silk and a white and blue fringe. 


Length, 10 feet 2 inches; width, 6 feet 634 inches. 


A 
C\ 


tO. Netra 


wr, A f) if 


1106—SIXTEENTH CENTURY Irsttan LINen SHEET 


Rectangular shape. Of fine white linen, with fringe and in- 
»- __ sertion border. 
Length, 10 feet 2 inches; width, 6 feet 634 inches. 
VA soe 2. M4erg_ 
1107—SIXTEENTH CEnTuRY Itatian Linen SHEET 
Rectangular shape. Of fine white linen, with fringe and in- 
ye  sertion border. 
rz Length, 10 feet 91% inches; width, 7 feet 41/4 inches. 
+ 4, | 
VV aa ok 0-26. ote g Agent 
1108—SIxXTEENTH CENTURY ITALIAN LiInEN SHEET 


Rectangular shape. Of fine linen, surrounded on all sides with 
a band of openwork. 


Ne 


Length, 10 feet 2 inches; width, 7 feet 414 inches. 


Ae ae 7 
I Vine: 6 -/"- Veen 
1109—SixTEENTH CrEnTURY ITALIAN Linen SHEET 


Rectangular shape. Of fine linen, with insertion of bands of 
ee Modano point and fringe at the ends. 


Cp 


Length, 10 feet; width, 7 feet. 


J 
_f/ 
eats fl = 8, Sara, Vitae 
1111—SIxTeenTH CeEntTuRY ITALIAN LINEN SHEET 
Rectangular shape. Of fine white ae with a border em- 
y) ‘= proidered in a cross-stitch with white and yellow silk. 


as) 


/ 


Length, 10 feet 2 inches; width, 6 feet 634 inches. 


Wu lZAaAn. 
1112—SIxTEENTH CrEeNTURY ITALIAN LINEN SHEET rer 


Rectangular shape. Of fine white linen, with fringe and in- 


Y © . 
f/ “— sertion border. 


gg 


Length, 11 feet 11% inches; width, '7 feet 984 inches. 


Vr An4 VOW: Jhon, “gente 
1113—SIXTEENTH CENTURY ITALIAN LINEN SHEET | 


,, Nectangular shape. Of white linen, with insertion. 


Length, 12 feet 1 inch; width, 7 feet. 


1 A 
¢ om lab4) JY oe 


1114—Srxteenty Century Iranian LINEN SHEET | 


Rectangular shape. Of white linen, with insertion. 
. 60 : 


Length, 12 feet 1 inch; width, 7 feet. 


qe 


VY) & 
ty eons O VVA PA ey 
s C Je 


~ A 


; A ye) 
1115—Firreenty Century Umerian Tasiectori 
Rectangular shape. Of fine white linen, with borders woven in 
—-~-» ¢ —a design of animals and plants. 
6 


/| 
f} 


Y Length, 15 feet; width, 3 feet. 


CURIOS 7 
~ 
i) ‘/) po 14 
iy (e La- } Se o- VL (: AA 4 L 


1115a—Two EientTeentH Century Iratian DIcE 
jee Of ivory. Cube-shaped, with rounded corners forming circular 


pe 
= eres faces. 
CU . ( tudor Uger— 
1116—SEVENTEENTH CENTURY ITALIAN Ivory NEEDLE-CASE / 
s Cylindrical shape. Carved in a diapered pattern of lozenges 


// §* — containing human heads carved in low relief. The screw top is 
of acanthus-leaf design. 


lA 
a My 


1117—SEVENTEENTH CENTURY ITALIAN Tomer CoMPANION 


Ivory pocket knife-shaped case, the sides carved in a pattern of 


. «6 ¢cireles, with hinged toilet implements of ivory. 
mts 


oy (aa 

Case ANY “Wwe 
1118—SixtEentH Century Irauian Tomer Powprer-pox 

Cylindrical form, with removable lid. Of wood, with molded 

/ 7&2 rim to lid and base. The body covered with leather painted, on 

é a dark blue ground in gold, with a pattern of geometrical in- 


terlacements. Rim and lid gilded over a red ground. 


Height, 5 inches. 


1119—SIxTEENTH CENTURY hanks fe 
= Small scissors, with pivoted blades and scrolled handles. En- 
pe graved and gilded blades. 


lv 4) h 
1120—SEVENTEENTH CENTURY ITALIAN ScIssors 


Small steel blades, engraved in a pattern of floral scrollings and 
—— figures of saints and gilded. 


A, 
v 


_ 
7 
Sat: 


Length, 41% inches. 


ZL. (tethencleee 
1121—SrxTEENTH CrentuRY VENETIAN Lapy’s Scissors 
Small scissors, with pivoted blades, engraved ina scroll design 
/s%_ and gilt. In carrying case of papier-maché wound with gold 
thread and green silk. Silken tassels. 


nn. Pcarnran eel 


1122—SIxTEENTH CrEentTURY ITALIAN Tae Box 


Of wood. Circular form, with removable lid. Deasratat as 
3 <s__ to the body and lid with flutings and moldings and with turned 
‘ finial. 


Diameter, 5 inches; height, 424 inches. 


(4 le ly Ky 
1123—SrixTEENTH Crentury Iranian JEwreL Box 
Of wood. Circular form, with removable lid. Decorated as 
ce to the body and lid with flutings and moldings and with turned 
/ (5 —~ finial. Completely gilded. 
Diameter, 41% inches; height, 4 inches. 


i; “c f oe OE y 
O- Quidam Agent 
1124—TourTEENTH Crntrury Iranian Ivory Comes | 
Rectangular shape, with long, fine teeth. The back is carved in 
low relief, on one side, with a subject of two knights and a 
/ OS ‘— lady in fourteenth century costume dancing to the music of 
two players; on the other side, with a sporting subject of dogs: 
chasing a stag flanked by an archer and a huntsman blowing 
a horn. 
Length, 5 inches. 


Die SF MMi 
1125—SEvENTEENTH CentTuRY Iranian Lapy’s Bac 

ay Oval-shaped, of red silk and embroidered in silver, with bellow 

we — sides, tassels and cord. In front and back are attached two 

plaques enameled in colors on copper with religious subjects. 

One of St. Elizabeth, wearing a crown and ermine robe, the 

other of St. Mary Magdalene with the vase of precious oint- 


ment. 


1126—SrxteentH Century Iranian Lapy’s Cap 
Hood form. Of fine white linen, embroidered in gold with 
silver bugles in a design of scrolls and birds, and fringed in 
a ) 6? red and gold. 
, dr fos 
1127—SixreentH Century Iranian Lapy’s Cap’ % ©0778 70 
Hood form, with detached ear lappets. Of yellow silk, inter- 
ee woven with silver thread, and with neck-fall of blue and red 


fe silk, 


Vw ‘ 


Virrng (hererete 
1128—Pair or SIXTEENTH CENTURY ITALIAN Lapy’s SLIPPERS 
Of white kind, with embroidery in a design of scrolls of black 


Stee braid couched with yellow silk. Pointed toes and no heels. 


¢ 


1129——SixrrentH Century Iranian PrNcusHIon ~ 

Square shape. Covered in red silk, embroidered on one side 

[0 with a heraldic eagle, on the other with a peacock within a 
scrolled border. At the angles are silk tassels. 


SE fae 
J = ne 
1130—SixreentH Century Iwarian RuncusHion 
we Circular shape, with open center. Covered in red velvet bor- 
7 = dered with gold braid. 
has 
x de. 
1181— EIGHTEENTH CENTURY Iranian Kynirrinc NEEDLE-CASE 


Cylindrical shape. Of boxwood, turned and carved with hu- 
Bee Ne eas 
/ Length, 634 inches. 


V) i- eee 
1131A—SEVENTEENTH CENTURY ITALIAN SILK-WINDER 
Square frame of turned cherry-wood, spindles inlaid with ivory, 
YOU ae and on turned cushion feet. The winder is an upright turned 
spindle with crescent-shaped termination. 
Height, 74% inches. 
Width of stand, 10 inches. 


x ire 
each 
11382—Pair or SIXTEENTH CENTURY ITALIAN Lapy’s MiITTrEN-cUFFS 
Of ‘red velvet, embroidered in gold and lined with silk. Long 
, 12 cuffs, with pointed lappets which cover the backs of the hands. 


Ne 
Length, 101% inches. 


r\ F 3 
Nf. Bee 


113883—LatE SIXTEENTH CENTURY ITAIIAN DoG-coLLAR — 


Large collar of red velvet, with stamped brass mounts and 
* sv decorations, a gilded iron buckle and a brass bell. 


1-% Care. 
11384—SIXTEENTH CENTURY ITALIAN Purity Hour-GLAss 


Cylindrical case of pierced brass, engraved at either end with 
1 ee the sacred monogram “I.H.S.” 
yee Height, 31% inches. 
uv n: ly 
1135—SrxTeEeNntH Century ITat1an Hovur-cGuass 
Of ebony and ivory turned, with five double baluster-shaped 
$2. spindles of ebony separated by five turned finials of ivory. 


Height, 4 inches. 


(\ Yy/ () ff 
vt Dette 


1136—SIrxTEENTH CENTURY ITALIAN IvoRgy Hovr-ciass 
Of turned ivory, with four baluster-shaped columns. 


Height, 42 inches. 
\y te 
U 


ry 
oe ie 


11387—SIxTEENTH CENTURY ITALIAN HovuR-GLASS 
= Of pearwood turned, with five double baluster-shaped spindles. 
* Oe dle : 
/ — 02 BN) eer 
(NAT 0 per 
1188—F irtEENTH Century Iranian “DeEvoTIONAL” . 
Circular shape, with glass braid. ‘Two disks of vellum, glazed, 
bound with gold and silver braid and painted, on one side with 
the Madonna and Child in a garden, on the other with the 
Angel leading Tobias. | 


/ Jes 


| a = : 
: \E vA “AN JDNAVEKY_ 
11389—SIxTEENTH CENTURY FLEMisH Boox(or Hours 

HORAE Beatae Mariae Virginis ad usum Romanum calen- 

beg to, dario. MANUSCRIPT ON CHOICE VELLUM. Written in elegant 

: Gothic characters, executed in Flanders at the end of the 

15th Century. 166 leaves (332 pages). ORNAMENTED WITH 

FIVE FULL-PAGE MINIATURES, surrounded by elegant floral 

borders, three small ones, twelve other final borders and semi- 

borders, twelve large illuminated initials ; and numerous smaller 

ones. 16mo, vellum. Some leaves missing. 
Height, 8% inches; width, 2% inches. 


Note: A charming little manuscript. The full-page miniatures, al- 
though very slightly rubbed, show the work of a good Flemish artist. 
They represent: 1, The Nativity; 2, The Adoration of the Three Wise 
Kings; 3, The Flight into Egypt; 4, The Penance of David; 5, A 


Funeral. Manuscript Hours of such a small size as this are of rare 
~ aT 
CX) fo fs { Y ‘ 
(Vito O- MANA ALAM LR 
1140—SrxreentH Century ITALIAN SEAL os tah 


= Of wrought iron, in the form of a cylinder, intaglio-sunk at one ( | 
7. éé end with the coat-of-arms of the Davanzati family. 


occurrence. 


Length, 3 inches. 


ie 
1141—SixTeEntH CrEenTURY ITALIAN SEAL VY “a SO yy oe 
Of wrought iron, in the form of a cylinder intaglio-sunk at 
one end with a seal of the coat-of-arms of the Medici family. 
a Length, 31% inches. 


1142—Sixreuntu Cenrurt’ Trai Szan 
Of wrought iron, in the form of an octagonal cylinder intaglio-- 
) s@_- sunk at both ends with seals. One end hinged as a lid and in- 
/ terior hollow to carry sealing wax. 
Length, 34% inches. 
yi JS ear an AGO ie 
1143—SIxTEENTH CrentTuRY IraLian Iron SEAL // 
Of wrought iron, in the form of a small cylinder intaglio-sunk 
46 atone end with a circular seal of the arms of the Medici family. 
/* — ~~ Small iron chain attachment to the girdle. 
Length, 3 inches. 


wy -7U Sot 
1144—F IFTEENTH CENTURY svonant ed Vigtiee 


Of wood. Dumbbell-shaped with flat ends, intaglio-carved at 
Bee **_ one end with a lily, the arms of the city of Florence, and the 
initials T.B., at the other end with a coat-of-arms surrounded 
by the inscription, in Roman letters, “Sanctus Benedictus.” 


1145—CoLLEcTION oF Oxp IraALtIaAn Corn 


Collection of thirty-six coins, of which ten! are of gold, the 
remainder of silver. All Italian of various dates. 


1146—SIxTEENTH CENTURY FRENCH Sat CELLAR 4 


Hexagonal shape, of metal. The sides are paneled with painted 

enamel plaques in designs of figures surrounded by festoons of 
leaves 

Height, 284 inches: diameter, 23/4, inches. 

VU H 

1147—SIxTEENTH CENTURY ITALIAN Fue, ‘ORK-CASE 
ae T'wo-pronged fork of wrought iron, with folding handle dam- 
ai ascened in gold. In wooden carrying case covered with leather. 


1148—SrxTEENTH CENTURY ITALIAN KNIFE-AND ForK 


Knife with steel blade, fork with two tines. Handles of clear 


amber carved in a scrolled design and mounted in silver. 


,9 
o— oe 


1149—SEVENTEENTH CENTURY FLEMIsH MarriaAGE KNIFE AND 
Fork S Loe 
oe 00 Sohrrrepr— 
Lf { “— Knife with steel blade, fork with three tines. Handles of brass, 
with decoration in low relief of young couple embracing. : 
\er at VY) if = ‘ { A 
(VAR 1. OB LamgrAa 
1150—Two SEVENTEENTH CENTURY ITALIAN ForKS f 
One with three tines and brass handle; one with four tines 
/o ¢¢_—and spirally turned wooden handle. 


— 


Length, 51% inches. 


r\ : A / 

1151—THREE SEVENTEENTH CENTURY (A raian, ORKS 
One with three tines and wooden handle piqué with brass, one 
/9.«¢ with three tines and wrought brass handle, and one with four 


tines and handle of wrought iron. 
Length, 6 inches. 


16 {% \ 
1152—TuHREE SEVENTEENTH CENTURY ITALIAN SPOONS 


| Of wrought iron, with egg-shaped bowls and straight handles. 
eye 


e 
A fy 


Length, 61% inches. 
PS Sigg Ay A / 
TVite- %- tH Th “eMeLe 
1153—SEVENTEENTH CENTURY ITALIAN TRAVELING TABLE SET 
Shaped case, with hinged lid covered in gold-tooled leather. 
Containing knife with steel blade, fork with three steel tines, 
[ /°— and spoon with silver bowl. All have silver handles repoussé in 
a design of figures and scrolls and parcel-gilt. 
Length of case, Bip inches. 
YW (AAV Ene 
1154—SrxreentH Century IrariaAn Taste KNIFE 
/ Blade of steel. Pistol-butt shaped handle of wrought iron 


e “2 damascened in a scrolled pattern, with gold. 
Length, 91/4 inches. 


A lax ig 

lye é. Wn Verna timer 
1155—F rereentu Century Iranian Hanp Lamp ee 

Of wrought iron, with an octagonal body and projecting boat- 

5 Bie shaped wick receptacle. With handle for carrying; iron hook 


for suspension. 


( 


Height, 51% inches. 


mel: ¢ tard pak 
1156—S1ixTEENtH CrnTury ITALIAN CANDLE Cane 
Of wrought iron. Of scissors form, with spring handles 
gas wrought in baluster design and circular head for grasping the 


candle. 
Length, 5 inches. 


Se 

VA Stat 

1157—F irtEENTH CrEentTurRY ITALIAN CANDLE SNUFFERS 
Of wrought iron and of scissors type. In the form of a fan- 
tastic bird, the long head acting as the snuffers. On two 


‘- —~ straight legs, with scrolled handles. 
Length, 5% inches. 


1158—SixTeentH Century IvraniAn CaNpLE SNUFFERS AND 
STAND 

7) a8 Of wrought iron. Snuffers of the scissors type, with pointed 

blades and looped handles. Mounted on a square iron stand, 


with flat handle and four curved legs. 
Height, 5 inches. 


A Q 
lV , r ner 
1159—SIxTEENTH CENTURY ITALIAN HourR- -GLASS 
Of pearwood turned, with five double bate -shaped spindles 


Height, 5 inches. 
(a , Fea) fi 
\O i » Vang Key 
1160— Sixreentu Century [rarian(Doustx Hovur- GLASS 
Rectangular case of wood, with sides pierced in baluster de- 
sign and containing two hour-glasses. Marked on top and 


f= otto aL 


V6 


eight, 6 inches. 


& ae 
1161— EIGHTEENTH CENTURY ITALIA’ CuHuRcR’ HouR-GLASs 


Wooden case of hexagonal shape, supported by six octagonal 
pillars. Painted, on a red ground, with black and white strip- 
ings, and with a Maltese cross and sacred monogram at top 
and bottom. 


Height, 1 foot 6 inches. 


104 ee RANI Le 
1162—SEVENTEENTH CENTURY ITALIAN THREAD WINDER 
With wooden tongue for attachment to table. Gilded metal 
3 ¢2 upright pierced in a scrolled design with wheel, iron crank 
with wooden handle and revolving spindle for winding the 
thread. 


Height, 71% inches. 


Ye f \ ae 


1163—SrixTEENTH CENTURY FLORENTINE Séissors AND CASE 


Scissors with steel blades and spring handle. Blade engraved 

> in a design of scrolls, trophies, a Cupid and the initials W. I., 

cee. gilded on a blackened ground. The case is of leather mounted 
with gilt metal bands and hung by a silken cord. 


Length, 8% inches. 


ponies 

Ni Ce \edrnte 

1164—SIxTEENTH CENTURY FLORENTINE LaApy’s Wokrk-scIssors 
Steel blade, with hooped spring handle. Blades engraved and 
~ _,« gilded ina pattern of floral scrolling with the figure of a seated 
i OS — woman carrying a hawk on her wrist on one side and with the 
Capponi coat-of-arms and the name “Sigra Selvaggia Cap- 

poni” on the other. 

Length, 8 inches. 


Note: The Capponi family was one of the foremost of the Merchant 


class in Florence during the sixteenth century. 
[Vay 
| 7 ie 
Q. / te tre 


1165—SrventeentH Century Iranian Sram“SMoorHEr 
Of boxwood, with turned shaft, ball handle and wedge-shaped 
¢ 2 ° 
: 7 “— end. Used by dressmakers for pressing seams. 


Length, 7% inches. 


UO eBoy & 


1166—Firreenty Century IraLiAN CUIR-BOUILLI ASTROLABE Cask 

Heart-shaped, with pull-off lid. Of cwir-bouilli worked in a 

small arabesque design based on Arabic lettering. Projecting 

LH ‘<— Jeather loops for threading the silken cord by which the box 
was carried. Used for carrying a small astrolabe or dial. 


Length, 5 inches. 


1167—FirtrentH Century FLORENTINE CUIR-BOYILLI CARRYING 

CASE uo Jy. g har tyd 

Rectangular shape, with pull-off lid. In cuir-bouilli, or 

o~ 4 Jeather worked when artificially softened. Decorated, in relief, 

on one side with a coat-of-arms surmounted by a helmet and 

the crest of a winged dragon surrounded by a scrolled ara- 

besque patterning, on the other side with a shaped escutcheon 

enclosed in a pentacle, also surrounded by arabesques. At the 

sides are leather loops for suspension at the girdle by silken 

cords. ‘The interior divided into compartments, probably for 
carrying tablets or memorandum books. 


Note: Between the fourteenth and sixteenth centuries the art of work- 
ing in cutr-boudli was a notable one in Italy. The leather is supposed 
to have been softened by long steeping in melted wax. 


Height, 6 inches; width, 41% inches; depth, 244 oi 
nrue We. Started 
1168—SIXTEENTH CENTURY FLORENTINE Ex-voTo Case / 
eee Dumbbell-shaped, with removable lid at one end. Of wood 
; painted green, with floral scrollings in yellow. On the flat sur- 
face of the lid is painted the coat-of-arms of the Medici family. 


Ls 71% inches. 
1169—SIXTEENTH CENTURY ITatian Pastry Samp 
| Of wood, in the form of a cylinderical roller with turned 
i fire handles. The body intaglio-carved with patterns of a shell and 
a rosette. 
Length, 6 inches. 


Vv 
1170—SEVENTEENTH CENTURY ITALIAN WALNUT Spick MILL 


Of wood, bound with iron. In the form of an octagonal shaft 
/ P: “2- on a square base with drawer. At the upper end is a hinged 


iron cover. 
ey C 4 


-1171—SEvVENTEENTH CENTURY eRe’ WaLnvtT SPICE 


[4 {n 


ight, 6 inches. 


ILL 
Cae Of wood, bound with brass. In the form of an octagonal shaft 
Y on a square base in which is a small drawer. At the top is an 


iron crank with turned wooden handle grinding the spice. 


Height, 6 inches. 


fi 
A r § 


ap 4 OY ae 
tY' NO - PRO pnne 


1172—SrxteentH Cxnrury Iranian Ivory Morar anv Prstie 
Mortar in solid ivory of urn-shape, with molded bands and cir- 
ay, «e cular foot. Pestle with acorn finial and rounded cylindrical 


head. 


Head, 6 inches; diameter, 4 inches. 


ls y 
a ny \)y ty fy 


1173— E1gHTEENTH CENTURY NorTH TrargAan ‘Spi¢r Morvan 
Of wood. Cylindrical shape, the sides carved with panels of 
—_ men’s and women’s figures. The cylindrical pestle carved with 
Th 


—— a knob shaped as grotesque masks.. 
Height, 61% inches. 


A bh \s 
1174— SEVENTEENTH CENTURY ITALIAN WaLNut Spice MILn 
on Of wood. In the form of an octagonal shaft on a square base. 
(ot eee 
At top is an iron crank. 
Height, 61% inches. 


- ‘gate 
Wl - Me tart 
1175—SIXTEENTH CENTURY ITALIAN Wee Watnur Pane. 
Rectangular shape. ‘The interior occupied with a carving in 
3 low relief of a circular wreath of pointed leaves and flower 
Y / ‘bound with ribbons whose scrolled ends are filled with 
spandrels. Within the wreath is a shaped shield mantled with 
scrolled leaves, surmounted by a helmet, and standing Putti 
holding a branch of flowers and containing the coat-of-arms of 
the Ginori family. Painted molded frame. 


Height, 4 feet 2% inches; width, 61% inches. 


Yr" KY VPA LRAR,EN 
1176—F ivteentH Century Umprian STEEL JEWEL CasKET 
_4« Square shape, with hinged lid. Entirely covered with a pierced 
" wS ~ decoration of a geometrical diaper ed design in wrought steel. 
The hinged double harp plate is of steel minutely wrought 
and chiseled in a design of Gothic tracery and detached 
columns. Lined with dark velvet. 


Height, 5% inches; length, 121% inches. 


p / 
Mu-W- of Langer 
1177—E1eutrentH Century Iranian Spick GRATER 
: Tongue-shaped flat grater of boxwood. With pierced metal 
So Oe grater, having at one end a box-like receptacle for spice, with 


hinged carved lid. 
Height, 7 inches. 


1-1: Ane 


1178—SIxTEENTH CENTURY ITALIAN inca Hovur-cass 


Of turned wood, with four baluster-shaped columns and two 
aie half columns. Mounted, with a swivel at the center, on a 
shaped board so as to be hung up against the wall. 


Height, 13834 inches. 


1179—SIxTEENTH CENTURY ITALIAN yi gpk 


Straight blade of triangular section. Handle of wrought iron. 
Length, 1144 inches. 


4 (\ 
V1 Setar 
1180—SIXTEENTH CENTURY ITALIAN ParER CUTTER 
Steel leaf-shaped pointed blade. Surrounded with figures and 


([ / sy a scrolled design and gilded. Handle of ivory square, carved 
and tapering to a flat point. 


3 t 


Length, 14% inches. 
fp 
TVA ee Con fant 
1181—SIxTEENTH CENTURY ITALIAN Ivory FOLDING) FooT-RULE ~ 


Of ivory in five folding sections. Incised linear’ divisions, but 
: no figures or numbers. 


Gy 
Q 
\ 


Length, 23 inches. 
YW. 16- Op baarteprr 

1182—E1cHTreentu Century Irantan WaQlkInG Stick 

Shaft plated with tortoise-shell. Octagonal gold top, with 
roe initials C. D. in enamel. 
(o Length, 33 inches. 
{ AW f 

1188—SrixtrentH Cenrury [raniAN Marsie Inxstanp 

| In yellow marble, formed as a recumbent lion holding a circular 


ALS inkwell. 
Height, 51% inches; length, 7 inches. 


MAAK ah 
1184—FIrtEENTH CENTURY ITraLIAN MARBLE INKSTAND 
Of white marble, formed as a couchant lion and lioness drinking 
at cylindrical receptacles which form the inkwells. On ir- 
regular base. 
Height, 8 inches; length, 9Y inches. 
a W/ ) Y socal 
2 Wy efppstdd /} Arr 
1185—SIxTEENTH CENTURY ITALIAN CANDLE SNUFFERS 
Of wrought iron. Of scissors type, resting on three feet. 
2 eee 
Length, 7% inches. 
A /) . ee, : 
Witte Vr G girfpty A 
1186—TuHrer Pieces or SrxTeeNtH Century [rattan WRrovuGHT 
Tron ‘ 
“Ss Small anchor, with arrow head flukes; pair of pincers, with 
> — . * . . ° . 
a, pivoted handles and nipper jaws; hammer, with iron head in- 
cised with initials N. P. and Florentine lily, and wooden handle. 


; a 
aye! ; <i (6 WW MeHAnm 
1187—SixTEENTH CENTURY ITALIAN IRON LANTERN 

Of iron. Cylindrical shapé, with gadrooned pinnacle-shaped 
. revolving top and leather-bound looped handle. 

i 
Se, Height, 9 inches. 
8 Ey fc 

[FA eat 
1188—SrxteentH Century Lrauian Tron LANTERN 
Of iron, with appliqué ornaments of stamped brass. 
Cylindrical shape, with gadrooned pinnacle revolving top, and 


,? °2 — Jeather-bound looped handle. 


NA 


Height, 11 iches. 


is k Ms 
1189—SrvenTEENTH CENTURY IraLIAN MasoricaA GAMING WHEEL 
Circular wheel of majolica, divided into seventeen compart- 
ue ments, painted on a white ground with symbolic figures, includ- 
xv ~ ing those of Neptune, Venus, Cupids, the Sun, Moon and 
Zodiac Signs, in blue, green and yellow and brown. The wheel 
is mounted in a molded and paneled walnut frame and there is 


a gilded metal revolving pointer. 
Frame, 15 inches square. 


1190—SIXTEENTH CENTURY ITALIAN CHESS AND BackGAMMON 


ee, 
Boarp | | 4+ Cre | nan 
_ Of wood, hinged in two portions sb as to form a book. Of 
Le fans walnut, richly inlaid in ebony, ivory-colored woods and mother- 
of pearl, with geometrical borders and interlacements. Out- 


side inlaid as a chessboard; inside, as a backgammon. board. 


Length, 15 inches. 
h va) y 
1191—F irreentH Century ITALIAN WaLNuT CHESSBOARD 
Rectangular shape, in two leaves hinged so as to form a book. 
4, ¢¢_ Inlaid with pearwood, with alternating strips of pearwood 
dividing the exterior into squares. The interior inlaid with 
pearwood so as to form a backgammon board. 


Length, 18 wches. 


3 ve U 


1192— EIGHTEENTH CENTURY ITALIAN CHESSBOARD AND MEN 
Shaped as a book, in two volumes, and hinged to form a box. 
et Covered with calfskin tooled in gold and lettered: ‘“Gioli 
~~ ~~ 'Tavola Reale” (A Table of Real Gems). Turned and carved 
wooden chess-men. 
Length, 18 inches; width closed, 1 foot % inch. 


11983—SIxTEENTH CENTURY ITALIAN WaLnvut Dottz’s CHa 
Straight square back, with turned finials, carved arms with 
y voluted terminations, and straight turned legs. Decorated with 
UN incised and gilded ornamentations. 
Height, 14 inches. 
ire 


SF ee (e A go ri Qgine 
1194—F rrvrrentH Century VENETIAN Carvep Woop Dou 
Figure, in carved and painted wood, of a fifteenth century 
Venetian lady. The doll is carved in wood, with face natur- 
alistically painted and the voluminous skirt painted and gilded 
e- , » 0% to simulate a rich brocaded pattern. The bodice is of blue 
: velvet with slashed sleeves, the high steeple head-dress of blue 
velvet with falling veil of fine linen, and the mantle of blue silk. 
The doll wears an imitation pearl necklace and paste diamond 
pendant cross and stands on a square base. 
Height, 25 inches. 


1195—SEVENTEENTH CrentTuRY ITALIAN MrEat MALLET 


Of boxwood, with turned head and handle. Used to beat meat, 


/ 7 «2 _soas to render it tender. 
f ——— 


\ 


Length, 91% inches. 


= me u 
1196—SEVENTEENTH CENTURY ITALIAN SpIck Mortar AND PESTLE 
Of wood, turned in the form of a vase on molded base. The 
/ ve pestle is of cylindrical shape. 
Lo, z 


Height, 10 inches. 


C Kw h 


1197—Firreento Century ITALIAN WALNUT LEMON SQUEEZER 


In the form of a rectangular block slantingly supported on four 
Say turned columns with a shaped base. The block has a hinged 
/~ +~*——Jid carved on the outside with a coat-of-arms and on the inside 
with a convexity which fits into a corresponding concavity sunk 
in the block itself. At the back is a carved animal’s head from 

which the juice issues. 


Height, 10 inches; width, 6 inches; depth, 51% imches. 


a) 
1198—FirreentH Century Licurian Mee Toei ee 
Circular shape, with lid. Of wood, painted on a bright red 
_ ye ground in blue and white, the lid with a circular central medal- 
xO —~ lion occupied by two coats-of-arms surrounded by six circular 
medallions occupied by figures of geese. The sides by a series 
of scroll containing coats-of-arms alternating with conventional 
flowers. 
Height, 5 inches; diameter, 11 inches. 
= C\ 
1199—SrIxTEENTH CENTURY ITALIAN WoORK-BASKEP 
Oval shape, of wicker lined with silk, the rim wound with silver 
ee thread. On four gilt lions’ paw feet. 


Length, 19 inches; width, 12 inches. 
/\ ™ A 
/ Ae : /; 
1200—SrxteentH Century [ratiaAn WoORK;-BASKET // “ 
Oval shape. Of wicker-work lined with brocaded silk. On 
/ ( °= gilded lions’ paws. 


Length, 15 inches; width, 18 inches. 


fp 


Oy Veda: VV : g tLe 
1201—SIxXTEENTH CENTURY ITALIAN W ORK-BASKET 
Oval shape, of wicker-work lined with crimson velvet. On four 
bps ebonized lions’ paw feet. 
ey akan Length, 16 inches; width, 21 inches. 
VY: doe Dh ae 


1202—SEVENTEENTH CENTURY Seine ABLE-KNIFE HOLDER 
Of wood and ivory. ‘Tall flattened vase-shape receptacle of 
OER with blackened and incised carving of four saints. The 
2) o* — four wing handles are of ivory pierced and carved in the form 
of scrolled caryatid figures. Divided into compartments to 
receive six table-knives with ivory handles carved in the form of 
human heads. On base of wood inlaid and plated with ivory. 


Height, 18 inches. 


oN uv \/ 


ItaAnIAN MINIATURE SuIT OF ARMOR 


1203 
Of wrought iron, fashioned as a complete suit of armor, 
—7 ¢*_ gauntlets and sword. The helmet has a movable visor and the 
oe whole suit is perfectly jointed. On a mannequin with face 
wrought of gilded metal. On square molded base, the plinth 

painted in a scrolled design in gold on black ground. 


pas Ne 12 inches. 
pPAyNing Lawe he 
1204— SEVENTEENTH CENTRUY oes ‘MS. Box 
_ Cylindrical form, with draw-off lid. Of papier-maché covered 
, with red leather, gold-tooled in a banded design of lions, eagles, 


Gr ope scrolls and rosettes. Lid attached with silken cord. 
Length, 16 inches. 


Vth ith VG 


1205—F IrreentH CEntTury IranIAN Lamp StTanp 


Formed in wood as an architectural pinnacle springing from 
a cluster of four turned columns, the pinnacle being spirally 
turned and carved in a pointed-leaf decoration. On square 
pyramidal base. 'The three iron spoon-shaped lamps hang from 
projecting hooked iron bars. 

Height, 211% inches. 


ye Cece sare 
y \ 7 baal 
¢Vitc- TF ALLOK __ 
1206—SEVENTEENTH CENTURY ITALIAN Iron Brigp-cace 
Of wrought iron, formed of strap iron as an octagonal cupola 
/ 9.s6~*—with pointed gables. : 
Height, 284% iches; diameter, 12 inches. 


; ¢ trrrdy, rae 
1207—HIGHTEENTH CrEntTuRY ITALIAN Woop Ae 1s 
Flat rectangular bat-shaped, with cylindrical handle and 
/2.s7_blade richly carved in floral scrolls and rosettes. Dated 1779. 


Length, 26 inches; width, 5 inches. 


1208—SIxTEENTH CENTURY ITALIAN CONEECTIONER'S Mo pine 
Boarp ord. Qi bre 
/ ps2 Rectangular shape. Consisting of a bar d of pearwood, with 
intaglio sinkings, in which to pour melted sugar, carved in 
the form of fish and shellfish. 
Length, 26 inches; width, 11% inches. 


a 


\ I - 
nat Winn" ce 
1209—SEVENTEENTH CENTURY ITALIAN JOINER’S PLANE 
Shaped as a modern plane, and elaborately carved with a 


2; grotesque mask and a voluted looped handle. 

ott . 
Bose 35 inches. 

1210—SEVENTEENTH CENTURY ITALIAN Sink ae ie 

Slender shape of turned wood, with flat shaped transverse bars 


a ¢é- at top and bottom. 
ea 181g inches. 


1211—EicHTrenty Century ITALiaAn TABLE pico : ; 
Of turned pearwood. Consisting of a screen attachment bn 

pee affixing to the board of a table, a short cylindrical body with 
two arms supporting bobbin stand and pin-cup, and a slender 
cylindrical shaft terminating in an openwork head around 


which the wool was twisted. 
Height, 21 inches. 


LIST OF ARTISTS REPRESENTED IN THE 
PAINTINGS SECTION AND THEIR WORKS 


CATALOGUE 
NUMBER 

ALBANI, FrancEsco 

Bacchanalian Scene 1031 

Pastoral Scene 1032 
ALLORI, Cristorano (CRISTOFANO BRONZINO) 

Football in Florence 1028 
ARETINO, SPpInreLio 

Saint Anthony 1041 
BASAITI, Marco 

Portrait of a Man 1006 
“BECCAFUMI, Domentco 

Holy Family 1037 
BETTO, Brenarpino v1 (PINTURICCHIO) 

Madonna and Child 1002 
BIGORDI, Domenico (GHIRLANDAIO) 

The Annunciation 1011 
BOL, FrErpinanp 

Portrait of Rembrandt 1005 
BORDONE, Paris 

La Bella 1029 


BOUTS, Dirk 
Ecce Homo 993 


BURGUNDIAN SCHOOL 
Episode in the Life of St. Michael 
Episode in the Life of St. Michael 


CAMPAGNOLA, DomeENIco 
Salomé with the Head of John the Baptist 


CARUCCI, Jacoro (JACOPO DA PONTORMO) 
The Nativity of the Virgin 
The Nativity of the Virgin 


CRISTOFORO FINI, Tommaso prt (MASOLINO 
DA PANICALE) 


Madonna and Child 


DADDI, BERNARDO 
Triptych 


FILIPEPI, Arrssanpro (SANDRO BOTTICELLI) 
Madonna and Child 


FRANCIA (See Rarporint) 


GHISLANDI, Fra Virrort (FRA PAOLOTTO) 
Portrait of a Painter 


GIOTTO (ScHoot oF) 


Head of Dante Alighieri 
Madonna and Child 

A. Crucifixion 

Madonna and Child 


GUTTENBRUNN, L. 
Portrait of a Young Lady 


GUARDI, Francesco 
A Masked Ball in Venice © 


CATALOGUE 
NUMBER 
1019 
1020 


995 


996 
997 


991 


1034 


1017 


1027 


987 
1022 
1024 
1030 


983 


* 1009 


GUARIENTO (IL) 
St. Michael the Archangel 


MASSI, Grentrxe (GENTILE DA FABRIANO) 
Madonna and Child 


MAZZOLINO, Lupovico 
The Annunciation 


PALMA, Jacoro (IL VECCHIO) 
Portrait of Aurelio Onigo 


PERUZZI, Bapassarr 
Portrait of Himself 


PIETRO, Sano pi 


Madonna and Child 
Madonna and Child 


PONTE, Jacoro (IL BASSANO) 


Portrait of the Abbot-Beneral Gregorio Barbarigo 
Portrait of a Venetian Ambassador 


PORTA, Fra BarroLtommro peLLA (BARTOLOMMEO 
DI PAOLO) 


Portrait of Girolamo Savonarola 


PREVITALI, ANnprEA 
Resurrection of Christ 


PRIMITIVE SCHOOL OF FLORENCE 
Madonna and Child 
A. Crucifixion 
Triptych 
Madonna and Child 
Madonna and Child 
Chancel Cross 


CATALOGUE 
NUMBER 


1021 


992 


999 


1008 


1004 


1012 
1025 


1015 
1016 


986 


990 


985 
1001 
1010 
1023 
1035 
1039 


CATALOGUE 
NUMBER 
PRIMITIVE SCHOOL OF SIENA 
Tobias and the Angel 1038 


3 PRIMITIVE SCHOOL OF TUSCANY 
Saint Paul 1040 


RAIBOLINI (FRANCIA), Francesco 
Madonna with Child and Saints *1018 


RAIBOLINI (FRANCIA), Francesco (Attributed to) 
Christ Bearing the Cross 994 


ROMANI, Grrotamo (IL ROMANINO) 
Portrait of a Young Man 1007 


RONDINELLI, Nicco1o 3 
Madonna, Child Christ and Angel 1000 


RUBENS, Peter Pau 
Portrait of Carolus de Mallery 1013 


SIGNORELLI, Luca 


Portion of an Altarpiece 981 
Portion of an Altarpiece 982 
Incredulity of St. Thomas 1036 


STROZZI, ZANosi 
Deposition from the Cross 1003 


THEOTOCOPULI, Domenico (EL GRECO) 


An Incident in the Life of Christ 998 

The Adoration of the Magi 1033 
TIEKPOLO, GtamMBATTISTA 

Study of a Man’s Head 998 

Study of a Woman’s Head 989 


TUSCAN SCHOOL . 
Painted Cross 980 


CATALOGUE 
NUMBER 


VAN DYCK, AntrHony 
Portrait of Augustine Lomellini 1026 


VAROTARI, Dario 
Portrait of a Man 1014 


VECELUI, Tiztano (TITIAN) 


Portrait of a Venetian Lady *1042 
Lavinia, Daughter of ‘Titian * 1043 


VELASQUEZ (ScuHoo. or) 
Portrait of a Young Cardinal | 984 


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; pick ‘ “ gph ek ol pl 4 
pak, fabes pi apt aise 3 t Paha 3 be “ay Rely pb ex fat pe pe oe Pie 6 ; . Py paras ad pt ote bo haet out 
sepa t tare wiy'¢! bg irul yaar wlaky pig BA n phe’ te Frases erg ne a ate : 4 res 3 f porary 7 Pad WANE we, rau ol ‘ rv; P y f ? Hep ley eka Cabad ytpl ele ge hapt gs 9-8 


Suess 

seats 
Hien ats: ‘ean 
| 


a a a fi i ns ‘SS 
wise 2 
3, a cee Pig 
of ak a 2. aatala ‘oa 

44. 3.3: a3. 


Maas Re bn laren, Agte, 


tT ‘ 2 ~ . 
oe Kee 
1 “ 
Toth 
PUR od ibe | 4 
& 
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bi f 
‘ \ - 
re. fe ; 
4 y F 4 
5 J 
: ‘ R ; 
5 a 
4s 
<8 
age 
TEES 
~— 
= * 
we avy . 4 
« F 4 
- 5 
¢ : : 
! ig SF ecg 3 


Sane ides R. H. Lorenz, bates Ne ee a, a ee ERM a PS 
P< Pe G. Horvat, Lae yer Se 


-y40L00 Be tek ka ee es 
200,00 - ee oe ge 
S.A ee 


2900 eee cial 
310,00 — CResiag fe ey 
MM 
sy 160,00 eae ee ee 
ee ae 
375,00 


- 450,00 eva oe 
ae 1400200 eS 
5 Gig 300,00 ie 3 


2,850.00 
“470,00 


Mrs, A. By Goedhourt, 


Fredorioks & Go, Py 
J. Karr Branch, 


Sredericks 4 Co., | 


Cc. T, Grocker, 
hi, H, Medinhard , 


Otte Bernet, Agent, 


H. Jehneon, 


(3) 


(4) 


iso Peedericks 4 Co., 
151 J. Dy MeTlhonuey, 2,000.00 
152 Yeyid: Warfield, 320,00 
153 David Warfield, 340,00 
T. Brumner, 110,00 
dee | Urs, A, Nethaa, 60.CC 
| 2 Hy Johnson, 27,00 
158 re, C, &. leo, 75,00 
159 o Bernet, Agout, £0.00 
160 H. Johnson, 140,0€ 
‘ bel “i Otto Bernet, ‘gent, 219,00 
| fe | * He Johngon, » $30,0¢ 
ae - Otte Bernet, Agent, 120,00 
eee: bee  Obte Bernet, Agent, 280,09 
166 | Otto Bernet, Agent, 88.060 
167 Me H, Meinhard, 240,00 
; hg sabes 75.00 
3 “ane oe 200,90 
: oo Otto Bernet, Agbes 300,00 
: ; He Johnson, 150,00 
169¢ Rag nw 78.00 
A aan “ ° C.5.,Lee ore : 75,90 
= We Hinekiec Smith, 120,00 
“ Me He Meinhard, 200,00 
1691 As H, Johnson, 210.00 
ened de C. Levy, 15,00 
470 Re He Loronz, Agt., 402.59 
: ” ad * 17.50 
a%2 Minneapolis Institute of Art, 39,00. 
175 R, H, Loronz, Agent, 37,50 
176 = (Out) | : 
177 bits, Jonathan, 79,00 
178 John Wananaker, 105,00 
179 David Selarce, 25,00 
181 R. ° Lorenz, Agte, : 22,00 


Mes, W. Stanford, 
C, benjamin, 

irs, A.W, Morue, 
Mrs, As We Morse, 
Wartin Hofer, 
David Beiases, 


Worcester Museum of aa"b, 
re As len, 


Vd és 


GC. benjamin, 

Worcester Mucewn of Art, 

W. H, Clarke, 

A. M, Hyde, 

R. F, ee 

is A, yus, 

C. Benjamin, 

Miss N, Aimirail, 

Lis. Jonathan, 

irs. He Je vopping, 

Mires, A, W, iloree, 

urs. James L. breeze, 

J. Kerr Branch, 

Mies R. H, Lorens, Ate» 

renee Museum of Art, 
J. F, MeXeraoa, 

ig F. Russeli, 

We W. Seaman Agent, 

R. ¥, Russell, 

Lis » Py CG, Horvitt 

T. Brumaer, 

UPB, Ae We WOPEG, 

irs, Burke-Roche, 

Ry Fe Russell, 

firs. ile Aimirall, 

Mrse Pe Ge Horvits, - 

lire, J, Re DeWwist, 


Joseph Laroesque, 
hirs. ee LiOWi.6 oli, 
lira. FP. 0, HOPVEtT, 
David belamse, 
irs. ¥. Lewheohn, 
Miss Ne Almirali, 
David Helasco, 
live, P. Ge Hervati, 
Mrs, Burke-Roche, 
Mrs, P, C, Hervitt, 
lire. Burke-Roche, 
pe. Jonathan, 


331 
332 
333 
334 
335 
336 


Mires © Ae Nathan, 
A. Arnold, 
Mra. Je Fe MeKernon, 
ides: My Almirall, 
Duveen Bros, . 

" ae, 

a at 


C, BE, Canessa, 

R. Daniels, 

We & J. Sloane, 
Otto Bernet, Agt., 
Duveen Bros., . 
Arnold Seligman, 
T. Williams, 
GeDeP. Lee, 

We We Seaman, Agte, 
Arnold Seligman, 
Mrs. PC, Hervitt, 
P.W. French & COs, 
Arnold Seligman, 
Otto Bernet, Agt., 
J. Kerr Branco}, 

Re Daniels, 

Miss M. Almirall, 
J.D. ileTlhenney, . 
Re Daniels, : 


" 
R, Daniels, 
Lie Orselli, 


Minneapolis Institute of Art, 
Kleinberger Galleries, 
lire, W.N.Wheeler, 


Nordecai Bengmar, 
Arnold Seli " 
irs, P, C, Herwvitt, 
R. Daniels, 

Vive. Jas, Brown, 

L, Orselli, 


Minneapolis Institute of Art, 1 


irs. GDP. Lee 
Otto Bernet, Agt., 


Third Afternoon’s Sale, 


We W. Seaman, Agt., 
J, Kerr Branch, 

C. E, Canessa, 
Carl W, Hamilton, 
Otto Bernet, Agt., 
Philip Je Gentner, 


P.W.French & Co., 


Mrs, Keller, 
C, B. Canesaa, 
Duveen B7e4, r 

# * : 

" # 
Warwick House, 
L, Orgelli, 
Duveon By take 

se # 
ti at 
8 co 
# et 
i ow 
% # 
Si i] 
tt 4 


Mies Rolla arent, Agte, 


Warwiek House, 

Louise D. Putnam Lee, 
Migs R,H,Loreng, Ate 
Duveen Broage, 

C, B, Canesga, 
P.V.French & Gen» 


Warwick Houge, 

W. Seauan, Agte, 

Duveen Brose, ; 
u 


ba] a 


Kleinberger * panes 
H. W, Bard 

PW. French & Co, P) 

Miss G, Barr, 

Duveen Bross, 

Arnold Seligman, 


(out) 
Wiss G, Barr, 
Otte Bernet, Agtes 
Kleinberger Galleries, 


’ | a - 
ay y 


Ge ae Canenga, Eg ee I ay 


Gee ies Keller, a ra a en "550,00 in 
: ag P, madlard ae 580,00 


Ps We Frengh & Coey eh Es $n 00:, 


— G. Dupont, Cyr 1, 250,00 


‘Miss iM, Almirall, 
Ae Rudart, Agtey 
i ga , 


ss . Kerr Branch, 


R, Daniels, 


ay 


G. B, Canessan, ss a tts 750,00 Tat tae 

Duveen Brose, ct Cae Mao te) 800,00 ae 
he (Oona ea. es 450,00 

gt ate cs LN ame 


_uyeen WB eg re a ha Ee eae 
Cc. & « Canessa, tel he MCA 2 MR ea a 
Duveon BOM. oe acs oe 1,980, BOs) | 
| Ue ea Bas Ee a 
Ae Ruler, Asay, é eae an , ff ~BS0,00° 


| ee eos a ae aac 
ie pee SS Eee tes a BE: Oe ee mone a 


Ve iy Cangsia, pe ee eS eee 


Wem, Ra Me Whoeler, —  B00CO 
Wa, Baumgarten & Ot Oo ee eo 
P. We French & Co., — - gage oS" 


i EO Oe A a eae 425,00 Miche 
ea gr 
A MOA eae | > MRRERe temetry Son e 
hi BR OEE ge I ee as ae 
Pon ok et RA hats St eee ae 
-Duveen we. ure mana ‘ 000,00 By Bo, ie me 


= Ss = = 
ste 2? 
= 


We Me Seanan, Ages ae 
He FOLNBOL, | We 
Mr, James, a 
(Sold with ‘wi 
W. Me sear and gout nish 


| "460,00 


; He tuacias 


ire. ‘Keller, 


Mr. James, ee : 
Mrs, Jy Js cece, 
Duveen Bros., 

Mise M, ¥, Almirall, — 


Mra, Louis P, yses, : 
Duveen cael Er wae 


Re A, Climpton, a ae tas 
Alfred Wilisrest,. eee ae 
ae te bab tess ate | i 


a he Rudin ‘hae $1,025 
"Cs B, Canessa es 1,000 
Me Radert, Agtsg 375 
 Dawkd Belasco, 2,350 
OP, w, Brena, ©, Ors gQO 
é Ms JOHNG ON, sce 259 
re Pe We Fronch & Coy 200 


Re Serials. . 900 


Men, iets, HH 
whos %, Waterbury, — 400 
. We. We Seaman, Agte,s £00 


ie JGnes, Be | ras 


ore, Gorden Bell, a 65 
be Oraelii, aga 60 
ds Kerr Branch, | 63 
. ode Kerr Branch, 5 . 100 


5 sy By Ay Barber, — 260 


Be, James, peter. 525. 
‘Mrs, Gordon Bell, ' 30, 
We Hy Johnson, | 19. 


) 8, Ve Hoffman, 7 80 


By VE GSM 30, 
‘Re Dandels, — ee - 89S. 


("We Me Jotneon, s00 


ST  ~—s— David Belasco, Retaiey 2106 
275 «= Duveon Bros., 7 3,400 


: Ce a ata | : | 200, 


Ne hah ie a Biwi 
a Yroderiek hadiasiok: | 340, 
sl 0siys, Samuol Untermeyer, = 360, © 
Warwick House, ee cadeent'  Mer 
| Mirae Ay By Frankenburg, ie 35, 


Eo Warster House, NS: : GQ, 
Pe, tes, MORE eS ha eA gts 


J Kerr Branch, | 400, 
.. Jas, Ballard, he VP ehh 625. 
&. Kingsley Porter, 600, 

‘Be 5. Laird, e . 600, 


Re Daniele, ; St ; 41¢c. 


r Ms o.3 ve 
ei. 4 ES < ’ é 
> a Cae bed a, 3 hale ~ ; es » P 
n \, ’ or aR i hy, eel x et age <2 
bart , y te. . 9? ys) Pt re? eT . X a Mie 
4 a | 4 ca me ve We FO a Pes - SAE duet My oan i i * 
». ; ae ol ae e et top y! rea ¥ 7] <7 i 
‘ " be om a Ping ly’ }- 
» £ Z J 


Otte Bernet, yori manag: T'S Gre 


a ee Fe Ballard, — 


sas 


As Kingsley Porter, 
P.WeFronch & Co., 
Viatall Bengmar, 
Otto Bernet, Agt., 
P.We French & Cosy 


Varwd ck House, 
PW. French & Con, 


PGORY. 1G 


Nicholas Martin, 
ira, W, Stanford, 
Nicholas Martin, 


a 


Mrs. liskernon, 
Nicholas Martin, 
W, W. Seaman, Agt., 
irs. W. Stanford, 
Nicholas Martin, 
Otto. Bernet, Agtes 
Nicholas Martin, 
Otto Bernet, Agt., 
iirs, W, Stanford, 
Otte Sernet, Agte, 
We He Smith, 
Nicholas Martin, 


” 


Minneapolis Institute of Art, 
Otte Bernet, Abe, 


We B. Thompson, 
Ge E Canessa, : 
Wy Mu, Milliken, 
iy, Thomas, 
MPG. le Py Dy Lao, 
W. Hy, Johneon, 
ba § 
# +8 
Mra. lee P, D. Lee, 
(Duplicate) 
Re He Johnson, 
MZ"S CG. 5, Lee, 
We Me Johnson, 


Je Je Murphy, ; 
Dr. Ae F. Longacre, 
Nicholas Martin, 


v 


FIFTH AFTERNOON'S SALE 
amber 28 L916. 


aa) 


&oon ef 


yew ee 


£20.02 4 
98409 
23 00 
220,09 


ey a Were 22 
Mies. RaH.Lorens, Agtey 420,90 
Hons He dehaseri, as $0,900 
be oe te ico ae et RD OE 
: | Ndsholes Martin, = Fae 
WW. H, Johnsen, oe BR6Q00 
Ay Kingsley Perter, == + — 18,00. 
We He iin Bee nbn Se 
ey | “4a, 00 
45.00 
(399.06 
99,09 
270,00 _ 
150.00 © 
ge, ope Tg ee 
iS, Co S. ley: tC ttt CO 
Rio: Beradt, Agts, oO 8 oo -2BOQ00. . : 
ge Ee BE oi Sa rae ; 75.00 pie 44 gat 
Pitt: 3 igenee ot ee | ; 
ne ¥ pian ty 200 
675,08 
ferGing ce, ROR Sk 
Bg TS ER OS 
Se a aoe Pa ‘ i 
oy toa’ cal eee Le 
eS , Rangaley ‘Serr Sa on none {20,00 é | 
ties, he Se aie oe EEN SS 
MW. ti, Geumeey eB RO es en ee 
“a Se oe BIRO Ok eng. 
£90.09 ae Se Wears Pog gre 


Otte Samet, pt Pate 
Mite Co Be Lewy oc) ma 
taal We H, Johnson, 


Cc. b Canessa, 


Miss. R HeLorenz, Agbes 


Otte Bernet, Agtes 
” " 


Mive. Putnan Lee, 
¥,W,.Seanan, Agtes 
Otto Rernet, Agtey 


WM, Milliken, 

We -, Milliken, 

law Le Jones, 

Otte Bernet, Agt., 
Chas, we Schott, Tes 
Ctto Bernet, Agt., 
MIS » We Stanford, 

%, H, Johnaon, 

Chas. My, Sehott, Iles 
Otto Bernet, dgt., 
Chass Me Schott, IVs, 
¥eH.Johasen, 

s 


Theo. Offerman, 
Otte Bernet, Agbes 
Urs. Putnam Lee, 
CG. i. Canessa, 
Theo. Offerman, 
David Selaseo, 
Pes rs GPANGZAY , 
David Pelaseo, 


Theo, Offerman, 


David Delasee, 
Ge Dupont, 
: ibe Canesea, 


Ge Dupont, 

C. &, Canesea, 
David Selaseo, 
Cy &. Canesga, 

G, £, Canessa, 

Ge Dupont, 
Ginsberg & Levy, 
C. & Canessa, 
W, H. Johnson, 
P.W. French & Cony 


David Belasco, 
Ge Dupont, 


(15) 


$950.00 


3,100.00 © 


2,800,00 


17,900,00 


200,00 
475,00 


~ By$00,00_ 


, . 
4,100.00 
2,300.00 
1, 700,00 
450,00 
190, 00 


5,00 
17,00 - 


20.00 
6,00 
17,90 
35,00 
45.00 
27,50 
25,00 
20,900 
15 00 
47.50 
30,00 
80,00 
55,00 
340,06 
135,00 
95,006 
130,00 
90,00 
90,00 
105,00 
60,00 
45,00 
140,00 
180,00 
90,00 
60,00 
200,00 
145,00 
70,00 
45,00 
60,00 
16,00 
30,00 
7,00 
42,50 
200,00 
90,00 
65,00 


820,00 ; 


786 


eesessssssegessese3 


3888 


(16) 


David Belasco, 

G. Dupent, 

Ge Be Canessa, 
? il 

Thee. Offerman, — 
oh " 

Ge Dupont, 

b at 

Theo, Offerman, 


Chae, N, Schott Jr., 
P.¥.French & CO. 


(17) 


Mra. W. peat 
ie Janos, 


@ ad 
” 


(npn) 


“Museum of Art, 
iusewn of Art, 


= 


SES99S0 og 8E994 sa2agS 99850855 


(Duplicates) 


65,00 


Ae Ruder't, Agtes 


5, F. Caldwell Co. . 


Seid with 914, 
i Williams, 
Seld with 915, 


As Rudert, Agtes 
MS » Keller 
Sold with 924, 
Mys. Keller, 
o Ke Jonns, 


ie %e, “taitfo88,* 
- Williams, 


aeda with 915, 
Seld with 915, 
T, Williams, 

tT Willdame, 
Seld with 915 
Seld with 914 
Mrs. W. Stanford, 
A. Rudert, Agte, 
T. Williame, 
Sold with 914, 
Seld with 915, 
Sold with 914, 
Sold with 914, 
Sold with 914, 
T, Williams, 

8, Willdans, 

Seld with 915, 
Mrs, Keller, 

T. Wilidams, 

T. Williams, 

Geo, Gray Barnard, 
T. Williams, 

Jo Ke J ohns, 


R. I. Scheol of Design, 


E, ¥, Caldwall Co., 
T. Williams, 
tT. Williams, 
T, Williams, 


Warwick House, 
at 
ob%o Rernet, Agtes 


Kleinberger Galleries, 
Otte Bernet, Agt., 
Out, 
WoW, Seaman, Agtes 
Kleinberger Galleries, 
Ce Ml, Wooley, 

Out, 

G, K, Steteon, 

Mra, Cy 5, Lee, 

P, Bourgeois, 

R. I, Schoole® Design, 
Otto Bernet, Agtes 


Myre. Ny Le By 
G 
iiss R, Hy Lorenz, Agts,. 


iva, J, FL NeKernon, 


Mise Re Hy Lorenz, Agta, 


Nicholas Martin, 

lis, Cy M, MacNeill 
Mies R.- He Lorenz, Agte, 
Mies L. Scoville, : 
We We Seaman, Agte, 
Nicholas Martin, — 
Maas R, H, Lorens, Agte, 
Hye DeVivo, . 
Ne Martin, 

Mira. L. FP. Myers, 

Te Re Thomas, 

N. Martin, 

Mise L. Scoville, 
Nicholas Martin, 


W. W. Seaman, Agt., 
Nies.- R, H. Lerenz, Agte, 
Philip Berelsheimer, 

CG. Burton, 

Nicholas Marta, 


Mrs. £,M,Berolgheimer, 
Miae RH. Lorenz, Agte, 
Miss M, Hague, 

A, Rudert, Agt., 

Philip Sawyer, — 


25, 000,00 
25, 000,00 
00 


aa) 


‘ ides R. He: Levens, dates Gat ; | 
Mitte Ce Me MneNoill, 


‘i —? Re He Lorenz, Agtes 


bom <a 
. 


— ee 
Segrggraer sre rygeges agate 
ii We 


‘ e \ ; - 
7. oe { “4 ie 
: b. a, fie ’ ios we 7 s * ae 
J Oh ier ame a Y 4 Be Good : 
ohnson, ae « ot ae 4 “oh. 
fx of sp ? “At, ah * A! 
Bt cw ws a E ’ 


ere »* "a. 9 5) SON te eee ae ee ms + r 8 A Phare ie TE 7 i A Pci los i PY Ay 
ge earns agi be ue," hy tie ly i) Et Fr Ee hy Be og wr 


Mrs, &, M, Berolsheimer, 
W. H. Johagen, 

J. K. Johne, 

We WwW. Seaman, Agt., 

We: He Johnson, : 
Deplionte, 


W. HH Jehnson, 

Dr, RF. Longacre, 

We. H. Johnson, 

re, W, Stanford, 

We He Johnson, 

We H, Johnson, 
cate , 


Mra. W. ‘Stanford, 
dra. Dd. Be Moran, 


(23) 


